My artistic research is rooted in the expanded field of contemporary choreographies, where I observe today a shift from biomimetic explorations towards investigations into heterotopic ecologies. So far unnoticed (allegedly unfelt) micro-performativities of sound & movement gestures (hesitations, alliterations, dubbing, repetition) relate to nano-political ethics as they become sustainable language. In collaboration with sound artist Werner Moebius, I re-imagine the climate in which humankind assembles amidst noises and fragilities. Investigations seem timely into what choreo-ethics – the ideation I propose around enfleshed and negotiated ethics shaped by the social and the choreographic – brings to reconsideration regarding micro-performativities of encounters. Attending to biospheric philosophy and staging hybrid narrations in their profoundness, opens up a polylogue between a range of agencies: humans, things, plants, planets or in other words organisms and their spheres, as various “alivenesses” emerge.

How to attend to micro-performative, hybrid entanglements and the nanopolitical dimensions nested into choreo-ethical ecologies? Which criteria proof relevant for (body/ space) ethics – what are the wider implications of choreo-ethics and how to practice the “ethical subject” (Braidotti, 2006, p. 238)? Do actions and perceptions suggest modulations of the environment and enact sensorimotor patterns constituting post-digital worlds, sustainable futures and their related performativities?
My performance lecture with original dubplate, turntables and absent body of my interlocutor explores, what forms of encounters arise from post-anthropocentric artistic methods. The Great Conversation is staged between pre-recorded vinyl and live performance, meshing up process documentations and live re-reading. Hand gestures interwoven with text collages activate communicative abilities and make an interrogative gesture towards impossible “ethical expertise” (Varela, 1992).