The Body, the Building, the Beat, the Bot!

Name: Orpheus Instituut
Price range: $

Artist statement by Ying Xuan Chian

Flux and flow are universal and perpetual, even if not always palpable. Fluidities, contingencies, and negotiations relentlessly manifest as embodied movements and experiences. From transformative protests in market squares and shifts of political power, to buzzing mycorrhizal networks, to the chilling reverberations echoing through structural cracks in timeworn buildings, diverse movement teases at diverse ways of knowing and being. However, our conceptions of this epistemic and ontological kaleidoscope, while certainly dynamic, may also seem fragmented and bound by the straitjackets that are our perceptual affordances. The growing ubiquity and computational capacities of machine intelligence systems also transmute explorations about communications and relations amongst and beyond humans.

This practice-based project proposes a situated queer musicking sandbox (QMS) as an interface for these explorations, particularly with respect to how humans and non-humans collectively rise with the complexities of the times. The QMS is a multimodal interface suite that codifies a physical environment and agents (human and non-human) into an intelligent virtual twin, affording activities to unfold and evolve as recursive cascades and mutual flows. It will be developed and tested in a variety of community- and place-based contexts, integrating kinetic agent interactions and experiences.

The project explores how embodied movement might be understood, materialised, and queered through the intricate interplays and relationships of agents and environments as mediated by a QMS. Beyond anthropocentric, colonial perspectives of embodiment and motion, emergent potentialities of radically inclusive futures beyond capital can dawn from various forms of perceiving, remembering, responding, adapting, predicting, and generating. Movement relates to power, bio-mechanically and metaphysically, and digital technology might facilitate our understanding of these pluralistic wisdoms and their networks of influence and care. Thus, the work will be centred on the QMS’s applications in situated community advocacy. Given the epistemic exclusions and energy demands of current machine intelligence systems, the work will also experiment with ways to realise the QMS through inclusive, regenerative perma-computational techniques.
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Background: Decolonising and Queering Bodies in Movement

On the Limits of Disciplinarity

The saying, "writing about music is like dancing about architecture," is of unknown origin, asserting controversially the difficulty or even futility of relating different art forms to each another. The statement may also beckon to epistemic gaps that inhibit our communication of lived experience and embodied imagination.

Consider this:

Can beholding two-dimensional photographs of an open plan, triple-height space reenact vertigo or the allure of spinning and jumping in the spatial abundance? Does the sense of peril and foreboding of an ostinato translate sincerely in literary abstractions? Does the lingering scent of cigarette smoke hit until the sinuses tingle?

Teasing at these interstices, the cultural spheres are gradually following the trend of embracing transdisciplinary, multi- and intersensory approaches. This is taking place within and outside of the confines of the seven formalised fine arts (music, sculpture, painting, literature, architecture, performing, film).¹ Furthermore, synergies across disciplines and practices transcending the binaries of art/non-art, low/high are also flourishing.

Confronted with a myriad of wicked conditions, among them the climate emergency, global injustice, and biological threats, such practices of connection and symbiosis in the arts have become increasingly pertinent, if not pivotal. The complexity of imminent threats tends to trigger reactive, defensive behaviors that may increase division and alienation on a societal and cultural level. Offering the alternative of looking towards complexity, rather than reacting to it, synergetic practices instead call for integration and solidarity between beings (human and non-human), informed by an awareness of how these relationships and ways of relating are always contingent and changing.

This turn toward relationality invites us to reconsider how we engage with the world—through frameworks that are fluid, dynamic, and often grounded in embodied experience. In this artist statement, I consider methodologies that center relationality, including queer theory, Indigenous epistemologies, and embodiment.

Towards Relationality: Queer Theory, Indigenous Epistemologies and Embodiment

One such framework is queerness and queer theory, which allows us to call into question arbitrary dualities, hierarchies, and absolutes and instead embrace fluidity. One of the many scholars who have studied the notion of queerness and complexity, bell hooks described queerness as: "being about the self that is at odds with everything around it and has to invent and create and find a place to speak and to thrive and to live."² Thus, queerness entails the constant, active negotiation, adaptation and resilient maneuvering through cracks and pockets while simultaneously subverting normativity with courage.

While grounded in distinct histories and epistemologies, queer theory and Indigenous knowledge systems share a critical stance toward dominant paradigms that enforce rigidity, hierarchy, and exclusion. Both invite us to imagine otherwise—to inhabit relational, dynamic modes of being that challenge normative structures. In this spirit of shared resistance and renewal, the work of Vanessa Machado de Oliveira Andreotti turns toward Indigenous philosophies that echo queerness in their embrace of complexity, care, and interdependence.

In Hospicing Modernity, Andreotti critiques modern dominant social, political, and economic structures marked by individualism, control, and extractivism, looking towards pre-colonial ways of knowing. Considering queerness as a relational ontology, these ancient perspectives and practices are inherently queer relative to modernity; rather than reinforcing dichotomies and hierarchies to uphold a sense of supremacy and certainty, they are rooted in dynamism, nuance, and connection. Oliviera also emphasizes the importance of not appropriating, co-opting, and romanticizing these knowledges and practice systems but appreciating their ethical and relational foundations and engaging with them in ways that respect their contexts and complexities. She calls for a compassionate unlearning (hospice) of modern capitalist ways while nurturing more holistic, collective ones.³

To understand how these alternative epistemologies take shape, it is helpful to turn to ritual and Indigenous epistemologies—embodied forms of knowledge transmission deeply rooted in land, community, somatic and shared experience.

At the same time, it's important to acknowledge that not all views on fluidity and embodiment align with being situated. Some thinkers have been more critical, cautioning that aesthetics and bodily experience risk becoming commodified in contemporary culture.

Critiquing the Body as a Site of Resistance: Diffusion, Alienation

Certain scholars wrote about the phenomena of diffusion and fluidity in critiques of modernity and late-stage capitalism's impact on aesthetics and embodiment. For instance, Jean Baudrillard used the term “transaesthetics” to remark on the erosion of meaning in art in the face of rampant aestheticization in popular culture.⁴ His critique of consumerism and its superficializing effects extended into observations about body culture in his 1998 essay The Finest Consumer Object: The Body. Within, he described the alienation from embodiment arising from the hyper-curation of the self as body, whether that be with surgery, dieting, or other means. He argues that this positionality stands for subservient conformity to arbitrary ideals of beauty and utility. Baudrillard's assertions raise important questions about the nature of art and embodiment within a capitalist framework, prompting reflection on the extent to which bodily experience is codifiable and, consequently, commodifiable.⁵ In prioritizing the body as a locus of self-transformation and encryption, the primary conflict may not be with queerness or transness, but with anthropocentric and capitalist understandings of embodied being.

More-than-human Epistemologies

In that regard, James Bridle offers some alternative insights into more-than-human epistemologies and ontologies, many of which are deeply situated and can be observed kinetically and sonically.⁶ He cited the example of the embodied cognition of octopuses. They have a decentralized nervous system with neuron bundles embedded in their limbs, allowing them to move without a central control system. He also described the “waggle dance” of honeybees as “animal communication and democracy-in-practice”; the bees would move in a figure-of-eight pattern, which precisely communicated to other bees the location of food sources through variations in the duration and angle of the dance. In another example, he referenced how mimicking the grunts and movements of baboons by human researchers led to their social acceptance by baboon communities.

Beyond the locus of the moving body, Bridle also noted the complex decision-making of plants as manifested by their growth patterns and chemical secretions in relation to stimuli from competition or opportunity in proximity, which include observations of their capacity to hear and respond to sound. On an ecosystem level, he referenced the collective intelligence of ecosystems, referencing Darwin's observation of an “entangled bank” of multiple species with divergent forms resulting from complex evolutionary processes, yet these very species were also intensely interdependent.

Engaging with such diversity in embodied cognition means engaging how a wider diversity of memories, lived experiences, needs, and desires is embodied in themselves, how they are further embodied by the patterns of their totality, and how these are interchanged within and beyond the human experience. Studies in embodiment and movement present a compelling case for a wider understanding of how cognition is encoded and communicated. Interaction design as a practice might have to evolve to facilitate and channel these forms of cognition, which queerness and Indigeneity are powerful lenses for.

However, any consideration of these epistemologies within human-designed interaction systems would undoubtedly develop via human perception, cognition, and communication. Therefore, avoiding anthropocentrism entirely remains an unattainable ideal.

Emerging conceptions of movement as relational and context-bound—rather than as isolated physical action—such as those explored in queer ecological dance, may offer a useful framework for understanding movement more figuratively: as a redistribution of power and a reimagining of human-world relationships.⁷

There currently exists an abundance of ways such cross-fertilisations may be developed and understood (not without their caveats and controversies), one of which being the emergent STEAM (Science, Technology, Engineering, Arts, and Mathematics) framework in education as a pedagogical and epistemological approach. While transdisciplinarity provides a useful frame to understand the process of forming these cross-fertilisations, current discourses could stand to more creatively explore the potential of the body in movement as an additional modality of situated thinking that can inform and influence interaction design.⁸ Specific innovations, works, movements, and practices also explore these relationships, from generative machine intelligence, site-specific work, brain-computer interfaces, and web3 technologies. And just as these interrelationships and their mechanisms develop, so do their potentialities in sustainable futures unfold. The key inquiry here is how we might accommodate diverse, complex wisdom and perspectives to address challenges inclusively.

All is Dance – the Body's Interfaces With the Material and Immaterial World

Reciprocities: Movement, Sound, Space

Movement, sound, and space are mutually contingent. Soundwaves interact with the environment, which acts as a medium shaping sound's behavior through various mechanisms: reflection, refraction, absorption, attenuation, diffusion, and resonance. Sound can function as a spatial agent, shaping awareness and enabling interactions within space—creating affordances that influence how people perceive and behave, as seen in echo chambers or whispering galleries. Bodies move in relation to space, and movement in turn (re)shapes space both tangibly and representationally.

These reciprocities can be conceptualized by the idea of “affordances” proposed by Parker and Gibson, who describe the possibilities for action an environment offers to (affords) an organism.⁹ Actions are therefore contingent not only upon the capacities of the organism but also on the features of the environment as perceived by the organism, and this complex contingency means that affordances do not fit squarely into categorizations of objective and subjective, arguably being both and neither at once. For an organism in motion, the environment provides cues about opportunities and boundaries; to take the example of a human being in a room, a very low ceiling affords to lie down and stand still but not jump.

The conception of embodiment as complex sensory interaction has been extensively explored in spatial and architectural studies, and these perspectives are crucial for understanding environments as interfaces for movement. Juhani Pallasmaa's phenomenological approach subverts ocular centrism, instead encouraging the engagement of all other senses in the understanding and designing of buildings.¹⁰ He maintains that the enkindling and evocation of emotion and memory occur through the profoundly intimate process of inhabiting and moving through spaces while interacting with their materiality and spatial qualities. Well-designed buildings affirm our humanity and sense of self through patinas forming over time, stepping stones we navigate intuitively, or signs of assiduous craftsmanship. Stewart Brand also engaged with the idea of buildings as dynamic interactors through the concept of 'shearing layers', which divides buildings into components that change at varying rates (from slowest to fastest, these are site, structure, skin, services, space plan, and stuff).¹¹ More recently, praxes exploring this embodied movement and space, such as Allt hänger samman (a program in Sweden encouraging body-based learning about architecture) and Dancing Architects (a series of projects by architect Takako Hasegawa and dance artist Julie Anne Stanzak exploring spatial choreography through contemporary dance) are also surfacing. Beyond the building scale, the concept of the genius loci can also be helpful in framing space as a dynamic mise-en-scène for situated motion.¹²

While movement is not strictly musical, sonics and movement can be linked emotively, or understood through entrainment and kinetic energy in sound. Social dances and music are intimately tied to the rhythms of labor.¹³ The ocean alludes to rowing, casting nets, and waves, encoding knowledge about the sea into bodily practice.¹⁴ Similarly, pastoral knowledge is transmitted through live participation in farming practices.¹⁵ And dedicated moments for stillness and reflection, honor harmony, and restoration.¹⁶ As such, Indigenous epistemologies tend to be relational, non-linear, and embodied.¹⁷ Knowledge and stories are frequently codified, materialized, and communicated through generations via embodied movement, creating fluid archives of wisdom. Ecological enactive perspectives have similarly emerged in musicological discourse. Small (1998) coined the term 'musicking' to refer to the gestural, collaborative, relational processes of musical performance, conceptualizing the essence of music as a verb: a doing, a social action, rather than a noun, the musical work itself. Eschewing prescription and valuation, he also therefore, in a sense, queers the composer-performer-listener-usher hierarchy; all are involved, and all are integral.

The ideas explored thus far demonstrate that the body is vita—in all senses of the word—not only as a nexus of sensation and movement but also as a medium of relation and systemic transformation. Tying in broader concerns of global crises and how these are deeply rooted in power imbalances, bodies—in stillness, in motion—can also be an impetus for social change, for metaphorical movement. Judith Butler contemplated the extensive bodily engagement of political demonstrations, not just in bodies lying or marching on the streets, but also the bodies carrying and operating paraphernalia (such as mobile devices, cameras, or video recorders) responsible for capturing and relaying the action. They ask, “Is the action of the body separable from its technology, and is the technology not helping to establish new forms of political action?”¹⁸

Machine intelligence and digital tools present further affordances for embodiment and movement. Codification and creation can now be facilitated through sophisticated motion capture systems, wearables, and immersive technologies. The variety of machine intelligence futures can, too, be queered and need not be understood strictly dichotomously as 'good' and 'bad'; much has certain narratives can undoubtedly paint a grim picture of technocracy. After all, these bleak outlooks may be rooted in late-stage capitalist constructs (such as the commodification of art, Baudrillard might contend) which need to be dismantled. Instead, we could inquire how we negotiate and work with intelligent technology and how we might dance with machines. Bridle notes that machine intelligence, while commonly thought to be modeled after human intelligence, displays unique characteristics – an example being the decentralized, hyper-distributed intelligence of swarm robotics like BeeAdHoc – presenting a prospect for machine intelligent systems to be not only conduits but also agents.

Queer Musicking Soundbox: Proposed Research Methods and Materialization

Research methods to understand and design for situated sound and movement will lend themselves to be deeply participatory, socially engaged, and gameful processes. Collaborators may include dance artists/movement practitioners, visual artists, musicians, and interaction designers, but also, decisively, people who are typically excluded from design processes and discourse.

My experience in equity, diversity, and inclusion (ED&I) equips me to increase accessibility and reduce barriers to participation. For example, I would diversify modes of engagement, including gameful processes (such as tabletop games and roleplays), research in advance the accessibility of any physical venues and online platforms/tools, uphold safe spaces and provide regular opportunities for feedback.

Site Studies

Drawing upon my experience conducting site and urban studies for architectural projects to gather site data, the Queer Musicking Sandbox can be situated in a variety of cultural and geographical contexts, across urban, suburban, and rural locales, buildings, and wilderness, from small-scale (e.g. furniture, rooms) to medium-scale (e.g. pocket parks, civic halls). Participants will collectively decide on the sites to investigate. The site information of interest would be a mix of qualitative participant stories/experiences and quantitative environmental and demographic data.

Local contexts will be explored through a combination of fieldwork and desk research. For fieldwork, this can be in the form of collaborative site visits with participants as slow walks in small groups. During these site visits, participants will be encouraged to relate their experiences inhabiting and navigating the sites/spaces to broader topics and concerns, such as local history, environmental pollution, indigenous rights, and safety. Depending on the site, site information can include air quality, temperature, luminance, footfall, biodiversity studies, and space use studies. I am especially interested in fluctuations and movement patterns in these parameters, so I capture them as dynamic/live data rather than static data. I am also interested in exploring ways of tracking non-human motion data.

Participatory Practice

Participatory design activities will include community site visits and studies , as well as dance/movement/somatic practice workshops integrated with design charrettes. The latter can combine on- and off-site work and involve guiding participants in relating stories/scenarios about situated movement from lived experience, such as navigating a new city, moving to a new home, climbing a tree, and walking a dog.

Later development stages may involve participants in developing speculative designs of a QMS virtual twin, as well as situated choreographies and/or musical works participants wish to explore in their prototypes. With permacomputing being a nascent field of study, I am keen to explore emerging permacomputing principles together with participants and encourage them to integrate them into their designs.

I will also collaborate with dance artists/movement practitioners and interaction designers to develop and refine workshop activities and content. Participants will be invited to document their learnings and work in any way they feel comfortable and confident, including drawings, writings, films, sketch models, zines, and even spoken-word poetry or skits. These documents will be digitalized into an online open-source library (e.g., on Notion, Miro) and form the basis for continuous community engagement beyond the workshop setting.

Prototyping and Playtesting

Data and speculative design ideas from site studies and participatory design workshops are then used to develop in-situ prototypes. Broadly, this might involve:

Virtual twins ('Internet of Beings') can be manipulated to influence the environmental conditions of the physical sandbox or vice versa.
On-site kinetic installations incorporating sensors and actuators to create immersive, evolving, multisensory environments
Location-based AR/VR environments which are navigated to uncover embedded stories via virtual geocaches or situated soundscapes
Wearables (which can be fabricated using 3D printers, laser cutters, etc.) that translate gestures, micro-movements, or biorhythms into sonic/visual/haptic feedback

I would also like to engage local community maker spaces in the prototyping process. The prototypes can then be presented as community exhibitions and participatory performances/experiences.

Possible QMS sites

When considering possible sites for implementing the QMS, two locations which I have a personal connection with come to mind: Hong Lim Park in Singapore and Place de la Republique in Paris.

Hong Lim Park (/Speakers' Corner) stands out as the sole venue in Singapore where protests and rallies can legally be staged, a small reprieve from draconian laws around political discourse and activism. The place features prominently in We are Not the Enemy, an anthology of essays and interviews on advocacy and civil society in Singapore edited by Constance Singam and Margaret Thomas.¹⁹ Photos and footage of recent demonstrations including the SG Climate Rally movement and Pink Dot vividly capture the embodied, collective spirit of political protest, teeming with live music and dance, impassioned speeches, raised signs and banners, lighting in the dark, and the dynamic presence of bodies in proximity and motion, all of which intertwine and imbue the space with meaning.

When in France, I inevitably found myself comparing the deep-rooted culture of civil protest and public demonstration with that of Singapore. In particular, the Place de la Republique stands out as a significant protest site, with demonstrations dating as far back as the 17th century. Both sites' richly layered history and sociopolitical significance make for fertile settings for experimenting with the QMS concept, integrating context with emergent events to generate new creative encounters – visual, musical, kinetic, and beyond.

Case Study 1 (Ecological Music and Movement): Site-Specific Dances

Site-Specific Dances is an interdisciplinary collective of artists, choreographers, musicians, and designers which engages communities in enlivening their local areas through the embodied storytelling processes of location-based participatory performances.

Performances have been arranged in Derry, Northern Ireland; Sedona, Arizona and California among other places, exemplifying the power of dance as site-specific response to issues including intergenerational trauma and ecological threats.

Case Study 2 (Machine Intelligence Facilitated Movement): Project Starling

Artist and roboticist Catie Cuan works in the emerging field of choreorobotics, the intersection of dance, robotics, and machine intelligence. Her work includes Project Starling, in which she trained an AI agent on her choreographic preferences over two years while designing them to move in flocks and function as musical instruments, with their components setting off sounds to create an accompanying soundscape.

Research significance

The QMS project hopes to address several intertwined research gaps in present interaction design, movement, and sonic scholarship. Current research has yet to extensively explore ecologically entangled, situated movement in consideration of mutual interaction with diverse affordances. How bodies move and maneuver in response to conditions and how this influences these conditions remains a nascent area of study. These affordances include not only those immediately perceivable by the senses but also more intangible but nevertheless influential ones such as the embodied memories of agents, site narratives, sociocultural norms, local and global political complexities, as well as the (sometimes hidden) movements of non-human agents (including plants, animals, fungi, and machines). This project will adopt relational, ecological approaches to understanding movement integrated with contextual underpinnings.

I hope to engage with the rich array of experiences of the human condition through community- and practice-based methods that facilitate improvisation and co-design. Further, non-anthropocentric perspectives are also lacking from current discourse and present frontiers for trans/post-human inquiry. Work in transdisciplinary approaches to understanding movement integrating visual art, music, sculpture, and architecture also requires further study and experimentation to broaden communication methods and, therefore, interfaces for participation and collaboration from various fields.

Drawing these threads together, a value-sensitive, systems-oriented design philosophy that emphasizes relationality rather than techno-optimistic solutionism can contribute to more inclusive designs. This entails dedicated work to mitigate the potential exclusions, risks, and harm of emerging digital movement research, not as an afterthought but as something intrinsic to the designs and design processes themselves. This can include integrating permacomputation (e.g., multi-agent interaction systems that are energy-efficient, circular/regenerative, localized, and even embodied and kinetically powered) while diversifying pathways of engaging with machine intelligence practice and discourse (thereby addressing digital exclusion).

Work-in-progress Figma board

This embedded Figma board illustrates the ongoing, evolving design and conceptual framework of the QMS project. The board offers a dynamic visual representation of the system’s theoretical underpinnings, architecture, agent interactions, and kinetic interfaces, inviting readers to explore the relational and multimodal dimensions of the project. Here you can trace the iterative development of the QMS and understand how it embodies a commitment to queering motion and decentralising agency.

Imprint

Author

Ying Xuan Chian

Issue

Date

09 June 2025

Footnotes

1 arguably a reductive framework to begin with.
2 hooks, bell. Belonging: A Culture of Place. New York: Routledge, 2009.
3 Andreotti, Vanessa Machado de Oliveira. Hospicing Modernity: Facing Humanity’s Wrongs and the Implications for Social Activism. Berkeley, CA: North Atlantic Books, 2021.
4 Baudrillard, Jean. The Ecstasy of Communication. Translated by Bernard Schütze and Caroline Schütze. New York: Semiotext(e), 1983.
5 Baudrillard, Jean. "The Finest Consumer Object". In The Body, 277–282. New York: Routledge, 2021.
6 Bridle, James. Ways of Being: Animals, Plants, Machines: The Search for a Planetary Intelligence. London: Penguin UK, 2022.
7 Parkinson, Becca. “Eco dance movement psychotherapy (EDMP) and queer embodied kinship with the more than human world” Body, Movement, and Dance in Psychotherapy 18 (2023): 261 - 274.
8 Perignat, Elaine, and Jeffrey Katz-Buonincontro. “STEAM in Practice and Research: An Integrative Literature Review.” Thinking Skills and Creativity 31 (2019): 31–43.
9 Parker, Sue Taylor, and Kathleen R. Gibson. “Object Manipulation, Tool Use and Sensorimotor Intelligence as Feeding Adaptations in Cebus Monkeys and Great Apes.” Journal of Human Evolution 6, no. 7 (1977): 623–641.
10 See for reference: Pallasmaa, Juhani. 2009. The Thinking Hand: Existential and Embodied Wisdom in Architecture. Wiley. Also ———. 2011. The Embodied Image: Imagination and Imagery in Architecture. John Wiley & Sons, and ———. 2012. The Eyes of the Skin: Architecture and the Senses. John Wiley & Sons.
11 Brand, Stewart. How Buildings Learn: What Happens After They’re Built. Viking Press, 1994.
12 Vecco, Marilena. “Genius loci as a meta-concept.” Journal of Cultural Heritage, 41 (2020): 225 - 231.
13 Martin, John. Introduction to the dance. Reprint. New York: Dance Horizons, 1965.
14 Borovnik, Maria (2018) 'Seafarers and work', in Brown, Mike and Peters, Kimberley (eds.) Living with the Sea: Knowledge, Awareness and Action. London: Routledge (2019): 131–146.
15 Kimmerer, Robin Wall. Braiding sweetgrass: Indigenous wisdom, scientific knowledge, and the teachings of plants. Minneapolis, MN: Milkweed Editions, 2013.
16 Surpi, Ni Kadek "Nyepi and the efforts to save the environment." IOP Conference Series: Earth and Environmental Science, 1111(1) (2022): 012084.
17 Antoine, Asma-na-hi, Mason, Rachel, Mason, Roberta, Palahicky, Sophia. and Rodriguez de France, Carmen. Indigenous epistemologies and pedagogies. In: Antoine, Asma-na-hi, Mason, Rachel, Mason, Roberta, Palahicky, Sophia. and Rodriguez de France, Carmen, eds. Pulling Together: A Guide for Curriculum Developers. Victoria, BC: BCcampus, 2018. Retrieved from https://opentextbc.ca/indigeni...
18 Butler, Judith. Notes Toward a Performative Theory of Assembly. Cambridge, MA: Harvard University Press, 2015.
19 George, Cherian, Kok Hoe, Ng, Han, Kirsten, Sa’at, Alfian, Sasitharan, Thirunalan, Yuen, Carol, Yang, Daryl, et al. We Are Not the Enemy: The Practice of Advocacy in Singapore. Singapore: Ethos Books, 2024.

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