Our approach is radically transdisciplinary. We consider the connection between sounding/hearing/playing and moving/dancing/gestures not as one between fixed or static entities, which will meet at some points and build inter-sectional fields. Rather, our focus is the relational and how we think about sounding, moving, wording as entities which already exist within each other and come into existence through their inter-connectedness and entanglement.


The relational approach is very much connected with phenomenological discourses - understanding the intellectual brain work and the bodily sensations as a holistic phenomenon.  This is what Lepecki und Banes claim in “Performing of the Senses”: that phenomenology is the way to overcome gaps between ‘western’ concepts of perception and the senses (as only bodily) in connection to performance art: “Merleau-Ponty’s phenomenology, by binding perception to language and both to memory, allowed consideration that ‘the senses’ are not well-defined, isolated, autonomous organs of perception. Merlau-Ponty would famously posit that, first, perception always happens laced with temporality and language: perception is fraught with the anticipation of a future and the memory of a past and with the linguistic materiality of the human body. Moreover […], phenomenology proposes that perception happens only when the senses (already constituted by language, just as language is already constituted by the senses) find themselves to be in deep entanglement with the sensed phenomena.” (Sally Banes/André Lepecki, The Senses in Performance, 2007, p. 6)


This also affects the role of language: We want to deconstruct the assumptions; words of reflection come after action. Let’s turn it the other way around: what if the action involves the reflection and the sound provokes a word, because of its already related origin? The interplay of reflection in action, reflection during the action or on the action and within breaks, can then then lead to a development of new ideas for movement or sounds.

We aim to create fluid transitions, simultaneity, descriptive accompaniment, verbalising, commenting on my reflection of what is happening (sound and movement) also outside the language system. Writing in and out: Body, knowledge and writing.