Nominally, the Department of Biological Flow is a co-compositional experiment in research-creation practice for aesthetic philosophy. We also often describe this practice more readily as that of precarious insects who work to develop an art-philosophistry of concepts and movements. The attempt is to inform our curving vectors of life technique for survival in the control society.
Movement made thought through gesture is the first compositional turn of inquiry: our pure means and the first mediation for generating potentials. We move fluidly between performance, installation, text, image, video, poetry and motion capture to engage themes of relation, energetics, hospitality and ethics. Our work explores process itself as perhaps that most plastic of the arts of living; we are very concerned with this plasticity and its potentials for plastination or plastique (and the ethical questions these raise).
Relation is understood here not as independent term, but as a constellation of forces in emergence. Not an identity, but rather a movement. And a moment: the transformative interface of play moving space-time haptically, ephemerally, reconfigured perceptions of signal both extracted from and woven together with noise. A filtering and a faltering for collaborative exploration, and an embodied attunement to context generating intuitive knowledge that falls ambiguously aside language.
We are interested aesthetically in fragility, imagination, intermediality and tempo. Emergent ecologies of practice coalesce in birthing form: i’mpulsion. Everything more or less falls apart in the end.
This ephemerality is perhaps most explicit in our curated events, which exist at the myriad intersections of art, philosophy, movement and pedagogy. Here we attempt to work through various problems that could be considered an ecological aesthetics, not simply in the traditional sense of a green environment but also in terms of the new grey ecologies based in electrical systems and information networks.
Exploring trajectory and curvature, spending time with other creators thinking and working on new ways of coexisting; establishing and/or rejecting ecological models of aesthetic practice; or simply listening and learning and developing a craft.
Until forgetting it anew.