Project on bodily exfoliation and the point of inflection in sound, dance and painting

In movement, the body molds space and, while so doing, it lo(o)ses its aleatory phenomenological (corporeal and psychic) strata. Its physiological and anatomical structure allows it to form 'abstract figures' of energy (spatialising rhythm) which, at the same time, continuously decompose, or destratify, its architecture of organs and limbs, tissues and cells.

This bodily peeling can be intended in two different ways: as a semiotic de-codification of the surface (skin) and its becoming-flesh (the becoming-flesh of the body is discussed by Michael Hardt in his article "Exposure. Pasolini in the Flesh"), or as the abndonment of phenomenological flesh and the 'abstraction' of the body-matter (Gilles Deleuze discusses the phenomenological and abstract qualities of matter both with Felix Guattari in What is Philosophy?, and on his own in The Logic of Sensation).
But simultaneously, the body's physiological structure (the bio-chemical code and its gaps, the cellular stratification and its cracks-fissures, the anatomic and organic architecture with its dark corridors) is always present in this process.

The abstract, de-stratified body is thus able to elaborate abstract figures in different spatial contexts (see Josè Gil's concept of exfoliation), and to transduce them (see Gil's infralanguage). From the micro-articulations of djing and scratch, to the micro-gestures of movement and dance, and to the micro-strokes of painting and calligraphy, the abstract, exfoliating body shows a process of appearance, a rhythm emerging from the energetic relation between the body and the point of application (between a sound particle, a bodily joint and the tip of a brush).