Emovere emerges from a creation and research project originated in the Faculty of Arts of Universidad de Chile, which had the purpose of developing a performance piece and an interactive model between sound and dance with the intervention of projected images.

The project Emovere takes “emotion” as a central axis, which has generated an interdisciplinary piece that uses body processes to build a scenic poetics based on a reflection about the biology of emotion, intertwining the various corporal, subjective, dance, sound, visual and technological materials and procedures that emerged inside an interdisciplinary creation laboratory.

The interdisciplinary creation laboratory sought to generate replicable structures and tools as artistic creation material, using the measurement of biosignals such as the heart rate and muscle tension of dance performers as a foundation in order to modulate sound environments. The biosignals caused by the emotional states and movement of the performers were captured by physiological sensors that measure the minuscule electrical changes produced by the nervous system. Then they were sent wirelessly to a computer where they were processed and mapped to various audiovisual materials.
Some of the project’s objectives were to develop written and audiovisual documentation that accounted for the processes, methodologies and materials that were generated in the lab with the purpose of systematizing the creative/investigative process of Emovere. In order to initiate this documentation process, the members of the team were invited to write a text exposing the field of action that characterized their participation in the project, from a particular perspective and without a predetermined structure.

These writings are not meant to be finished articles but were rather developed by decision of each author as fragments for larger articles, summaries, brief logbooks with sensitive writing and even first drafts with ideas and reflections for future articles.

Each of the writings presented here vouches for the multiplicity of practices, production forms and ways of processing the artistic experience of Emovere, from the peculiarities of each discipline involved but also from the different individual ways of establishing their vision and decision-making. This manner of exposing the process of Emovere shows that even the definition of “interdisciplinary” is a complex and multidimensional question, which is better answered by the relationship of its parts rather than by general and totalizing resolutions.

With the intention of suggesting a sequence for reading these various texts, we have classified and arranged them according to the project’s discipline teams:


“Dance, Emotion, Biofeedback and Sound: the Performer as a Generator of Interdisciplinary Language.” Francisca Morand, Dance Director.

“Emovere: Romantic Love between Touch, Hearing and Affection.” Poly Rodríguez, Dance Performer.


“Designing Sound Interactions for Biosignals and Dancers.” Javier Jaimovich, Sound Director.

“Designing a Flexible Interaction Platform for Complex Interactive Performances in Real Time.” Esteban Gómez, Interaction Platform.

“Sound Composition.” Matías Vilaplana, Sound Composition.

Performance Design and Projections

“Regarding Performance Design in an Interdisciplinary Creation Process.” Ana Luisa Campusano, Performance Design.

“The Creation of a Stage Organism: The Visuality of Emovere”. Cristián Canto, Projections Design.

Theory and Consulting

“Among Resonances: An Essay about Emotion and Technology in Dance: Emovere”. Sofía Muñoz.

“A Foreign Vision: Dramaturgy and Perception in the Project Emovere.” Rolando Jara, Dramaturgy.

“Emovere: Analytical Perspective.” Eleonora Coloma, Theory.