Maestría en Estudios Artísticos

URI permanente para esta colecciónhttp://hdl.handle.net/11349/2062

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  • Ítem
    La teatralidad en los espacios expandidos: emocionalidad y sensibilidad del “quehacer teatral” en una mirada interdisciplinar desde la pandemia
    Bernal Pabón, Angela Cristina; Niño Morales, Santiago
    This Project, which began as a personal concern about the creative practices of Theatre during the lockdowns of the pandemic, expands, stretches and contracts around the events, experiences and testimonies of other Theatre agents who, like me, experienced the need to create, learn and live Theatre in these times when digitality gave us permission to be together, to gradually return to the theatres, to continue making theatre. Here I approach some thinkers of the performing arts that allow me to question the classic concepts of Theatre and review these experiences during the pandemic to understand if what we were doing was Theatre or not, if by connecting by creating and agreeing on theatricality we were expanding the academic concepts of practices or it was just a fleeting moment. I review this collective journey that included many human emotions and that rethought the way of doing Theater, I review the changes that this brought and what remained as well as what only appeared for a moment through people from the Theater who through talks shared their experiences and feelings and thanks to what I lived with the companies and collectives with whom I worked during the pandemic as a professional of the plastic and visual arts in art direction, set design, characterization, props and lighting design for Theater. The Theater is trans and interdisciplinary, it goes to other areas of knowledge and knowledge to materialize its scenes, this became more evident during the pandemic, since we found ourselves with learning challenges to be able to put the Theater to inhabit virtuality and digitality in a way that, although forced, was daily in those days. From this review today I know that resources such as live broadcasts, video casting, trailers of works for marketing, virtual meetings and Theater records are here to stay. We have changed as people, we have changed as professionals, our tasks and our practices have changed, but this is the essential dynamic of human beings and their cultures. Link to the documentary that accompanies this Research – Creation https://youtu.be/pD9c_6l3CSg
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    Tendedero de la Memoria
    Vargas, Erika Johana; García Schlegel, María Teresa
    Crecí rodeada de una diversidad musical que iba desde los sonidos andinos, tropicales, baladas, cumbias y música clásica, que mi madre compartía conmigo, hasta los ritmos del Pacífico que mi padre aportaba. Mi hogar estaba lleno de instrumentos: timbales, congas, bongós, clarinete, trombón, teclados, entre otros, lo que despertó en mí un profundo amor por la música y la literatura creIwuaju ATIva. Sin embargo, a pesar de estar rodeada de música, mi padre me negó la posibilidad de desarrollarme como mujer en este ámbito. En lugar de aprender a tocar instrumentos, me enseñaron primero a planchar camisas y a limpiar la casa, reforzando roles de género que limitaban mis aspiraciones. Desde pequeña, supe que era lesbiana, o como me decían mis hermanos, "machorra" o "marimacho", apodos que cargaban burlas y estigmas. Era la "negrita" de la casa, una identidad que aún mantengo, pero ahora más arraigada en lo que amo y en quien soy. A pesar de las limitaciones impuestas, encontré en la música una vía de escape y resistencia. Fui parte de una banda de ska-punk y de una batucada lésbica, donde ser lesbiana y activista me permitió fortalecer mi autonomía y explorar esos espacios donde puedo reconocer mi identidad negra, de la que nunca se me habló y que tanto me costó comprender. Mi viaje artístico y político me ha llevado a abrazar múltiples identidades: soy insurgente, racializada, lesbiana, mujer popular del sur de Botá, Kulumbia. Estas etiquetas, lejos de limitarme, han forjado mi camino como artista y activista, o como me gusta llamarlo, "arti-vista". Mi cuerpo, mi vida, y mi lucha pasan por esta multiplicidad de ser, lo que hace de mi existencia una acción política en sí misma. Este proyecto de investigación-creación, que realizo para obtener el título de Magíster en Estudios Artísticos, nace del transitar entre la calle, la casa, la música, la escuela, la academia y las batucadas. En este trabajo, exploro mi experiencia como mujer del sur de la ciudad, Botá, una investigación que se enraíza en mi vivencia personal y donde me reconozco y me nombran desde una corporeidad lésbica, racializada, periurbana, y como "ñera ilustrada". A través de esta investigación, analizo mi relación familiar, mis vivencias y la manera en que la sociedad nos impone a las mujeres una única forma de existir, alineada con la construcción blanco/mestiza, heteronormada, hegemónica y universal. En el ámbito de las artes musicales, estas imposiciones se traducen en la relegación de las mujeres a roles subalternos, donde deben ser dóciles, cosificadas y muchas veces marginadas por ser insurgentes y artistas. Las violencias que he vivido, que van más allá de la identidad y género, han marcado mi estética y mi cuerpo desde niña. Estas violencias estructurales las he combIwuaju ATIdo desde mi vida como artista, feminista, racializada y lesbiana, respondiendo a mi resistencia. Mi historia de vida, marcada por el género, las artes y la lucha por la paz, encuentra un lugar central en esta investigación. Este proyecto se nutre de mi participación en el programa "Promover la igualdad de oportunidades y derechos para las mujeres en el proceso de reincorporación económica, política y social de Reincorporación", donde busco contribuir a la paz desde las artes y el enfoque de género. Aquí, la Hora Cultural se convierte en un espacio de resistencia y esperanza, donde las artes no solo embellecen, sino que construyen paz y transforman realidades.
  • Ítem
    Máquinas de silencio contenido. Engranaje que estabiliza
    Castañeda Mejía, Melissa Daniela; Cáceres, Juan Fernando
    We live in a world ensnared by the rush of productivity, shaped by mass media, and as a society burdened with a history steeped in violence. We have learned to fill voids, cover cracks of loneliness, and navigate the noise pollution of our lives with words. In this relentless pursuit of temporal control, multitasking beings ultra-positive individuals grow under the pressure of constant accomplishment. This perpetual struggle entangles us in a loop of activities, causing us to lose awareness of our breath. The approach to the silence of words, gestures, and movements is scarce; silence has been relegated and is now lived according to necessity. Faced with an excess of noise, sound, and words, there arises an anxiety about plunging into overwhelming silence. This text presents an analysis of three types of silence: aphonic silence, dysphonic silence, and symphonic silence, interwoven with different types of breathing: dyspneic breathing, apneic breathing, and deep breathing. I will propose immersing ourselves in recognizing the importance of silence-space, breathing, water, and vibration to establish communication with our inner selves. This communication encompasses thoughts, words, and actions, becoming a starting point for establishing communication with the external world. Finding peace and calm in a world contaminated by noise, this emphasizes that we are vibrations that resonate, share frequencies, and can adapt to generate a more conscious life in the use of sound and silence.
  • Ítem
    Murales expandidos
    Bernal Riaño, Sebastian; Pinzón Ramirez, Maritza
    The text "Expanded Murals" examines the practice of community muralism as a means to democratize urban spaces and foster subjective experiences within the city. The main thesis centers on the transformative power of community muralism and the redefinition of the relationship between individuals and their urban environment. Through a combination of artistic expression, social commitment, and historical reflection, muralism emerges as a vital tool for reclaiming public spaces and amplifying the voices of marginalized communities, thereby promoting a sense of belonging and empowerment in the city.
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    Tras mi payasa o la manera cómica de aceptarme y valorarme
    Hernández Guerrero, Dora Bibiana; Garcia Schlegel, María Teresa; 0000-0002-0744-7011
    “Beyond My Clown: Exploring the Duality of Being a Woman and an Artist” is a transdisciplinary research-creation project that employs methodological approaches including autoethnography, ethnography, genealogy, performance, and clown techniques, as seen through the lens of Clownetnography (King, B., 2017, p. 28). This project investigates the duality I face as a woman and artist, specifically the tension between being a mother and being an actress, and reveals the meanings of success associated with these roles. These meanings are shaped by societal norms and academic expectations regarding success in my environment and artistic training. Through these methodological and transdisciplinary resources, and by writing and reminiscing about my experiences during my undergraduate education and my professional and artistic career, I recognize writing as a form of research. This process leads to the development of a personal creative path for discovering and utilizing the comedic resources of my clown persona, resulting in a practice that is emergent, creative, distinctive, and feminist. In this exploration, the language of the clown is revealed as a crucial tool, described by Barnaby King as Clownetnography, which coincides with the discovery of the Colombian Clown Network. This network serves as a platform and research space for female clowns, providing me with the validation and confidence to explore new artistic expressions.
  • Ítem
    Mujer diosa. Autoficción, petroglifos y performance: la herencia ancestral de una familia integrada por mujeres.
    Neira Alvarado, Diana Neira; Corredor, Andres
    The present study is born from the interest in placing myself in a place in research in the arts; discover my roots in my existential evolution, the legacy of my family's memory and the impact that my place of origin had at the beginning of my career and my vocation as an artist. For this reason, I set myself the objective of making a sensitive approach to some petroglyphs from Cundinamarca as archetypal expressions of human worldviews and self-fiction based on the ancestral memory of a woman belonging to a family made up of women, in order to create an artistic dance expression or performance. For this, first of all, I identified, in some Cundinamarca petroglyphs, the archetypal content of human worldviews and their potential for the representativeness of dance art. Secondly, I reconstructed, from recollection exercises, the ancestral memory of my family made up of women, this as a basis for the creation of an autofiction text; finally, create an artistic dance expression or performance, based on autofiction and its sensitive relationship with some petroglyphs located in Mesitas del Colegio, in order to highlight ancestral and family memory. The methodology that I used was, on the one hand, to make a life story where I capture key moments in my training as a person and as a professional; On the other hand, I made a visit to several municipalities of Cundinamarca, especially Mesitas del Colegio, where I grew up; This tour helped me to complement the life story, but also to have a sensitive encounter with the petroglyphs of the area, a fundamental input of this proposal; Based on this, I narrate an autofiction, which serves as the main element for the performance.
  • Ítem
    Guayoyito con teté en folkloreradio.online
    Gilón Quijano, Ligia Esther; Lambuley Alférez, Ricardo
    “Guayoyito con Teté en FolkloreRadio.online” is a Research-Creation proposal that reflects the author’s deep reflection on her socio-musical identity and the search for spaces for its dissemination and circulation. Here, she gathers her experiences as a singer, radio producer and cultural manager, in the context of Colombian-Venezuelan llanero music and its actors. These reflections lead to deconstructing personal imaginaries, investigating, from the cultural episteme, the richness of the concepts of identity and memory; consequently, the construction of emerging narratives from music in the territories is proposed based on a sound and virtual scenario of great importance: online radio. Finally, this work is committed to generating new spaces for public training, the encounter with new technologies and the interest in the preservation of musical memory from the llanero sound heritage, resulting in the production of more than 80 radio programs, in a new scenario called: Guayoyito con Teté.
  • Ítem
    Enseñanzas de la sabiduría ancestral Mhuysqa: simbiosis con la vida a través del mundo sonoro
    Díaz Herrera, Andrés Leonardo; Lambuley Alférez, Edgar Ricardo
    The document "Teachings of Mhuysqa Ancestral Wisdom: Symbiosis with Life through the Sonic World" is a research-creation project that delves into the historical interaction between humans and their natural environment. This study draws on the ancestral knowledge of indigenous peoples, proposing an exploration of how these ancient practices can positively influence our individual and collective consciousness toward the integral preservation of life. By analyzing sound as a channel of communication with the land, the research investigates the potential to listen to and decode nature's messages. This process aims not only to encourage a profound reflection on our role in caring for the planet but also to act as a catalyst for the joint healing of ourselves and Mother Earth, promoting an essential transformation in our relationship with the natural world.
  • Ítem
    Kasquizueltax Entre Calle, Tintas y Garabatos
    Duarte García, Jenniffer Paola; García Schlegel, María Teresa; [0000-0002-0744-7011]
    Kasquizueltax: Between Streets, Ink, and Scribbles is a project developed based on feminist proposals in the arts and the constant experimentation with public spaces as places for encounters with women. Through conversation, scribbling, and graphics in diverse contexts, the project intersects with feminist theories, researchers, and methodologies that foster collaborative encounters for re-existence. This approach challenges us to acknowledge the path paved by women who initiated these spaces and who, like in all disciplines and areas, have fought twice as hard to have their work recognized and valued.
  • Ítem
    Performar la fantasía
    Rodriguez Chavarro, Diana Marcela; García Schlegel, María Teresa; García Schlegel María Teresa [0000-0002-0744-7011]
    "Performing the Fantasy" is a self-recognition creative research project that explores the qualities of the journey as an existential possibility and uses an actress's creative methodologies to reinterpret her own reality. This journey progressively discovers its own destination. The starting point is the sensitive attachments and the darkness that crosses through the actress. These elements guide the path and through the analysis the actress makes of them, she engages in dialogue with others, investigates the experiences that gave rise to those attachments, and uncovers escape routes that allow her to re-exist. In sum, the actress employs her intense gaze on her profession and the theatrical logic to uncover its ultimate destination.
  • Ítem
    Tango: una experiencia de emancipación. Intersecciones entre aiesthesis y política
    Cortés Monroy, Ana María; Diez Marulanda, Jhon Alexander
    The following research aims to find in tango an emancipatory power. For this, we first had to recognize that tango makes possible an extra-ordinary aesthetic experience, which led us to return to the Greek notion of aesthetics (Aisthesis), which we contrast with the modern notion, since during the latter period aesthetics loses its vital dimension, and is reduced to a discipline of knowledge. Decolonial Aiesthesis is the critical perspective that highlights the relationship between power and sensibility that is established with modern aesthetics. Finally, we observe in a particular way how this emancipatory power is activated in tango through four dynamics that occur in it, and that derive from its character of dance of improvisation and contact. These dynamics were observed under the prism of the methodological tool that accompanied this research work, and which is called Interviews danced. This methodological proposal is an invitation to consider hybrid forms of research, which in this case we call corpo-reflexive.
  • Ítem
    La payasería otros mundos posibles. Experiencias creativas y comunitarias, potenciadas en payasadas colectivas.
    Ramírez Bravo, Ronald Oswaldo; Cáceres Jaramillo, Juan Fernando; Cáceres Jaramillo, Juan Fernando [0000-0002-9971-1704]
    This research-creation project allows itself to address "payasería" as a fundamental axis of inquiry and from an autobiographical approach. The moments of artistic, community and neighborhood training in which the author's personal clown training begins are addressed, as well as the facets through which he went through the creation of the theatrical work ABSORTO, a scenic action resulting from this research, which raises the experience of clown creation. The pedagogical processes focused on clown training and the creative processes developed from stage direction are analyzed. Finally, the document closes with the findings of the investigation against “payasería.”
  • Ítem
    Cartografía y arte colombiano: Una aproximación narrativa a través de obras de algunos artistas colombianos
    Bobadilla Cruz, Daniela Maria; Niño Morales, Santiago; Niño Morales, Santiago [0000-0002-9415-3512]
    Cartography has been a resource used in Colombian art. Maps are inserted in the author's works and in collective creations as the concept, content, intention and purpose of the artistic work. In this research we worked with the artists Lina Espinosa (1964), Adriana Ramírez (1974), Milena Bonilla (1975) and Luis Hernández Mellizo (1978). These artists have an important artistic career in relation to cartography. From their experiences, interests and ethical positions, their works are constituted from a cartographic perspective individually and collectively. Furthermore, these artists have works of collective creation that are the subject of analysis to understand the participation of communities in the plastic and visual arts. On the other hand, the curatorship is integrated into the investigative process by being a platform for dissemination and connection with the public. Recent curatorial narratives are concerned with the inclusion of audiences in the curatorial concept through exercises of creation, perception and contribution to the discussions that arise in the curated theme. Finally, creation joins the investigative process through the use of the curatorial script as a creative act to propose an imaginative exhibition exercise.
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    "Entre los sonidos de la naturaleza y los sonidos de la urbe", manifiesto sonoro por los humedales de Bogotá
    Patiño Gutierrez, Andres Leonardo; Gamboa Medina, Alejandro; Gamboa Medina, Alejandro [0000-0002-3395-2636]
    “Between the Sounds of Nature and the Sounds of the City”, a sound manifesto for the Wetlands of Bogotá, is an artistic research project that seeks to articulate reflection and listening through an audible experience, investigating the relationships between author's experience, the sound environments of wetlands and Sound Ecology. This text contains audio files of soundscapes collected in the field recording and which are the main reason to think about the relationship with the Bogotá Wetlands in an way, away from a contemptuous model of nature.
  • Ítem
    El cuerpo que desaparece
    Moreno Lopez, Edgar Ernesto; Eljaiek, Hernando
    Through a process of self-exploration and self-awareness, where the pandemic and the increasing use of technology, especially cell phones and social media, have significantly impacted my way of experiencing reality and identity, I seek to reflect on the relationship between the body, technology and virtuality in contemporary society. Exploring how the constant presence of technology has displaced the body and physical presence towards a more virtual experience, where image and appearance become fundamental. The problem of the image is related to the search for identity and validation through followers and reactions on social media, as well as the influence of search algorithms. These dynamics have led to a kind of “homogenization” and a massification of everyday experience that influences the perception of the body and the world for people of different contexts and origins, placing technology as a mediator in human relationships, specifically in the erotic and affective sphere. Virtuality and social media have modified the way we relate to eroticism, the body and love. I seek to reflect on artificial intelligence, post-image, and how the constant presence of mobile devices and virtual applications has modified my perception of reality. Questioning how virtual reality becomes an imaginary space that reflects and reconfigures daily life, while artificial intelligence transforms the production of images and challenges human autonomy in art. Busco refletir sobre a inteligência artificial, a pós-imagem e como a presença constante de dispositivos móveis e aplicativos virtuais modificou minha percepção da realidade, questionando como a realidade virtual torna-se um espaço imaginário que reflete e reconfigura a vida diária, ao mesmo tempo que a inteligência artificial transforma a produção de imagens e desafia a autonomia humana na arte.
  • Ítem
    La belleza de la muerte y la fealdad de la enfermedad
    Holguín Godoy, Tircia Carolina; Corredor Vargas, Álvaro Andrés Rolando
    This research-creation project brings together my work and investigations into two diseases, leprosy and tuberculosis, which are genetically similar, but with different manifestations and therefore different management within the social stigma. Likewise, it is an approach to the ways in which they have been visually represented throughout history, the clinical management and policies associated with their control, as well as the stigma and the imaginaries that surround them. To this end, the presentation of the findings around this topic and the derivative works that I have created during the last 8 years on this path are articulated with the selected images that are inserted throughout the document and that represent a visual journey that invites the reader to understand the ways in which leprosy and tuberculosis have been present throughout the history of humanity. These representations show us how diseases have been treated socially, politically and culturally, taking into account that medical and social practices related to these ailments have had different modes of expression through drawing, painting and other artistic and cultural manifestations throughout history. Taking into account the concept of stigma in illness as a tool and starting point, in a search motivated by achieving the interweaving of different relationships and perspectives, whether from the patient and their ways of seeing the world, from the family, society, caregivers or treating physicians (medical procedures) and how these feelings are transmitted from different professions and disciplines, we have that stigma serves as a starting point to talk about biopolitics as a form of social control from health, where the unwanted are confined or excluded in order to hide the ugliness and the evils of society and avoid panic towards what cannot be controlled, which is also linked to the concept of public health. In my artistic process, my main interest has been the anatomical aspect from a three-dimensional perspective, but due to personal circumstances, I chose the craft of embroidery as a form of drawing to talk about the body, skin, and illness.
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    Entretejidos de una ruana en colectivo: ensamble creativo con narrativas campesinas del altiplano cundiboyacense
    Forigua Salamanca, Lady Yohana; Hernández Rodríguez, Álvaro Iván; Hernández Rodríguez Álvaro Iván [0000-0002-4824-355X]
    Intertwined for a collective ruana (Original: Entretejidos para una ruana en colectivo) is an inter-university investigation-creation process developed by students from the master of Artistic Studies in the Faculty of Arts (ASAB) at UDFJC and master of Education from Universidad Antonio Nariño.This thesis arises from the collaborative effort of the theater groups of the two aforementioned universities, using their own creative processes to serve as cases to systemize practices, notions and ideas involved in working, creating and thinking as a collective group. In order to achieve this goal, a series of meetings were held with ruana weavers from the Altiplano Cundiboyacense region of Cucunubá in Colombia, where the weavers preserve the tradition of weaving Cundiboyacense ruanas. Nohelia Rojas, a friend of the theater group and whose family have practiced the tradition of Cundiboyacense ruana weaving for many generations, helped the researchers create a performative ethnographic study by introducing them to the ruana weaving tradition and the sentimental, aesthetic and esthesic territory of Cucunubá. The practice of ruana weaving involves a co-creative process amongst the community members, which, in turn, has stimulated the collective creative processes of the theater group Convitelarte. As a result of this investigation, new creative processes have been developed, which allow for interdisciplinary productions within the framework of sociocultural representation studies. The main focus throughout the thesis is the idea of a collective intertwining as the basis for collaborative creation in the group and concludes with the production of an experimental documentary that unites the collective practice with the sociocultural context of the ruana, as well as with the participants’ motivation and sensitivity. Intertwined for collective ruana aims to devise a unique method for collaborative work based on the various steps of weaving a ruana and, consequently, utilize said method for enhancing the creative process.
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    Prácticas de representación de lo exótico en “Aguirre, la ira de Dios” (1972): un análisis crítico a la mirada de Werner Herzog
    Martín Quintero, Carlos Eduardo; Romero Rey, Sandro
    This research deals with the theme of the practices of representation of the exotic in the film Aguirre, la ira de Dios (1972) by film director Werner Herzog, based on a critical analysis. The main characteristics of the research are based on the study of the notions of “representation”, “other”, “exotic” and “gaze”. These were the basis for the development of a theoretical apparatus. To examine this theme, a study of cinematographic analysis of the film was carried out, starting from its internal narrative, revealing its representational structures. For this, it was necessary to identify the reflective fields of Cultural Studies, Visual Studies and Artistic Studies through theoretical, practical and creative references of the project from the categories “representation”, “other”, “exotic” and “gaze” and subcategories such as the place of enunciation, cinema of conquest, stereotype, exotic landscape and colonial violence. The research was carried out with the interest of interpreting director W. Herzog's gaze as a system of references, representations and discourses that allowed the film to originate. There was an academic interest in deepening the proposed categories and highlighting the need to analyze other frames of reference, starting from the colonial heritages. Likewise, the research arose from a personal interest in making a film study of director W. Herzog and one of his most representative works, Aguirre, la ira de Dios (1972). The thesis is structured as follows: chapter one presents categories such as “place of enunciation”, “cinema of conquest” and “problem fields”. In the second chapter, a theoretical analysis of the proposed categories was carried out. And finally, in the third chapter we studied Herzog’s view of the film Aguirre, la ira de Dios (1972); starting from, categories such as the representation of the “Other”, the landscape of the “exotic” and the character of Aguirre.
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    Gracias a eso, yo soy así
    Castillo González, Luisa Fernanda; Castillo Ballen, Sonia; Castillo Ballen, Sonia [0000-0001-7044-1889]
    The present work addresses the experiences of violence in childhood of members of the Creative Movement theater group, through research-creation, based on dialogic, corporal exercises and collective scenic creation. The objective is to identify the gestural, verbal and emotional marks linked to these situations, to critically reflect on the parenting models that originated them. The population is made up of six adults with histories of early family violence. Through presentation and confidence dynamics, body expression exercises, improvisations and dramatic compositions, these encapsulated painful experiences are explored. The participants acknowledge having experienced various forms of abuse, abandonment and emotional lack. By putting them into words and theatrical actions, traumatic emotions emerge that are worked out collectively. They also notice violent behaviors that they replicated as parents or educators. This activates an ethical reflection on the responsibility of not perpetuating harm. The shared creative process around traumatic memories of one's own upbringing allows for mourning, interrupting the transgenerational reproduction of violence, and rehearsing new empathic and non-violent bonds. It is concluded that theater makes it possible to redefine the past, connect with encapsulated emotions and activate creative resources that promote more respectful and caring family imaginaries.
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    Decimario y undecimario: la corp∞ralidad una construcción entre simbiontes y matachines
    Leal Hernández, Lacides Alexander; López Molina, Dora Inés; López Molina Dora Inés [0000-0002-2967-1487]
    The corporality -now mutated in Corp∞ralidad- is a conceptual proposal created from reflective places on the infinite recreations and innumerable possibilities built and consolidated as materialities, from the corporeal actions of movement and sound through the "Ritualities and Rituals", between the “human” bodies, now, called symbionts and the cuerp∞bjetos, matachines. The symbiote, as a concept proposed towards a new notion of ontological reconstruction to the idea of "humanity", as human-symbionts, a posthumanist vision of sapiens, of their transrelations and interactions as reprogramming in their symbiotic actions in this interstellar ship, presenting to this species as one more in a symbiotic tissue among a series of multiple living and non-living agents (cuerp∞bjetos). Finally, the interactions between symbionts and matachines, the latter called cuerp∞bjetos, pose eternal symbioses, with their unique technologies, that is, cuerp∞bjetos that are related to multiple organisms or technological objects, which propose rituals based on actions corporeal and that generate and reconstruct the corporalities -tangible and intangible materialities as a result of these symbiosis-, being the central point of this creation-investigation, whose narrative will be composed of the pluriversalities (décimas and undécimas), as a way of enunciating an agency singular: Bodies that relate artifacts that reconstruct symbionts that come together interactive mutations, materialities excite It is interbreeding of symbionts experience like bullion between bushes and objects now they are bodies∞objects denotes cor∞rality.