July 8, 2020

Questions on the Transhumanist Declaration

After reading some essays of Ray Kurzweil, indicating that this is indeed our next evolution shift: the merge of biology and technology, I found the following information, and It triggered some thoughts I'd like to share.


And dont miss chapter 2 (bodily functionality ):

Do you think that what will remain of us, without any biological part left, could be considered an evolution of the human race? I'd rather call it a flowing Back-up of it.
I strongly believe that the universe gave way to the biological form evolved into humans, under the very specific conditions of this planet with a purpose:  awareness. Getting rid of the system that makes life possible can not be part of our evolution as humans. Will we let technology replace life? I think real evolution will depend on looking after it and give it the value that it has, that is the challenge for our race, and the bases for further evolution.

Please see:

Other considerations :
- What reliable power will decide the "selected" legacy that will be input for the NEO/POST “human brain"?
- What kind of energy supply will power the non-biological parts?
Considering the actual energetic situation and the perspectives of "not needing a planet anymore" indicated on the declaration: is the plan to have a floating atomic energy station to fuel the “units”? I think we have seen enough movies!
Or better! the energy should come from the activity of the biological part left of the "Unit"! ...
I can very well imagine a living muscle contracting like a heart to generate electric impulse but for supporting this (as we'll have no planet), we should at least have some kind of hydroponic container... very sad! .

Taking it seriously, my conclusion is that this is not the beginning of our evolution as humans, this is the expression of our failure to deal with our human consciousness, we just can't handle the idea of death. This is the ultimate form of slavery and an exponential road towards self destruction. We somewhere, somehow, sometime lost the secret... and here we are, trying to get rid of our biology… let’s see how far we get (with no legs, and an individual cognition of digital means running along a digital highway powered by who knows what operating system).

It's time to be grateful to nature and stop fearing for death as death is a condition for life. We should thank both, life and death and honor all what died before to bring us to life “in this magic place, in this wonderful (and challenging) time”.

PLEASE, let us enjoy and experiencie all stages of our human existence.
Let us be born, grow, be adults, reproduce, get old and die, IN PEACE.

October 18, 2012

Sole.No.ID (3D)

Photo 1 by Charly Borja
Photo 2 by Pablo Mendez
Poster 3 by Sociedad Secreta Producciones

July 17, 2012

- CV - Marisa Quintela

• Lic. Marisa Quintela

Choreographer, performer, teacher and Movement Researcher

In Argentina, she was formed with the Argentinian artist Flora Martinez and integrated her group of "Choreoformography" (fusion of visual arts and dance). She continued her professional development in Holland, where she lived for four years (1999-2003) and studied technique and composition with international grandmasters. She was invited as Guest Student at E.D.D.C. (European Dance Development Centre), worked as an assistant and performer in dance projects for renowned choreographers, presented her own choreography works and served as a teacher in various cities.

Upon her return to Buenos Aires, she worked as choreographer and performer in many situations and events: World Festival of Buenos Aires Tango, II Buenos Aires Independent Dance Festival -Pocket Dance, “Experiences on Stage” at the Borges Cultural Centre, Cocoa Festival 10 years, 22nd Congress on Dance Research in Athens (CID-UNESCO), International Dance Theatre Festival "La Plata City on the Move", National Ecological Forum 2008 (UTN Avellaneda), among others.

Two of her works released, "Greenhouse Effect"(2007) and “Sole.No.ID (3D)” (2010), received the subsidy of Prodanza (Ministry of Culture,Buenos Aires City Government) and the support of the Royal Embassy of the Netherlands. “Sole.No.ID (3D)” investigates, as world premiere, the interaction of the live performing arts and 3D technology, using a new color decomposition technique. The work was selected to participate in the Festival Enlaces: Thematic Art, Science and Technology of the Untref (National University of Tres de Febrero). In 2012 premiers with great success “Danza a Upa”, a dance work for babies between 8 months to 3 years of age, with the production of Proyecto Upa.

As a teacher, she is deeply involved in the investigation of concepts of traditional Chinese medicine applied to movement, and in the development of a method that adapted Meridian Stretching to therapeutic Fisoballs. She has been teaching her technique to professionals in different areas since 2005. The method participated in the 22nd World Congress on Dance Research in Athens (Cid Unesco), in the 14th International Congress of Sports, Fitness and Quality of Life Master Class for Rehabilitation Exercises at NEF schools, among others.

As an artist manager and producer, she co-organizes the International Cocoa Dance Festival, an event that has been supported by important entities, such as Iberescena, the National Theater Institute, Prodanza, the Patronage Law, Prins Claus fund., and the French Embassy, among others. She is a member of the Committee Board of the Association of Independent Contemporary Dance Theatre Choreographers (Cocoa Datei).

She is Member of International Dance Council (CID-UNESCO), Bachelor of Information Systems graduated from USAL University, actively participates in projects of ecology and sustainable development and finished studies of Traditional Chinese Medicine at Neijing Foundation Argentina where she continues the Post Grade Level and does medical practices.

August 10, 2010

Sole.No.ID (3D) Crítica 17/10/2010

Por Charly Borja
En esta propuesta de Marisa Quintela, la Danza se mixtura con diferentes efectos visuales tanto lumínicos como proyecciones en tercera dimensión (3D) que se complementan entre sí, conformando un bello espectáculo visual.

Original propuesta de Marisa Quintela, con la sugestiva presencia de la tercera dimensión 3D la danza vanguardista se yuxtapone en varias capas intercalada con los colores cálidos que resaltan la técnica 3D conformando un juego estético de gran belleza. 

Una puesta en escena con pantalla de proyecciones e iluminación acorde a la técnica aplicada más el agregado de la luz negra que crea imágenes atrapantes sobre todo en el sensual cuadro de la pareja de bailarines que se pinta mutuamente con pintura fluorescente en una especie de “aquelarre visual”.

La confluencia de varias técnicas visuales aplicadas a la danza contemporánea lleva al espectáculo de Marisa Quintela a lugares poco conocidos por el espectador haciéndolo tomar vuelos hacia estados solo imaginados por la mente de cada observador de Sole.No.ID

Recomendable performance multimedia que propone ver un espectáculo único, con o sin los anteojos 3D, dejando al espectador esa chance de ver una obra en una u otra modalidad visual, obviamente, las dos validas por igual.

Fotografias: Por Charly Borja

April 23, 2008

Efecto Invernadero (Greenhouse Effect)

Lithiaeum,contemporary dance andChoreoformography.

Choreography, design and dance:Marisa Quintela
Original music: Martín Ferres
Stage Managers:Caro Drughieri,Rocío de Belén

15 November 16:00 hs
National Ecological Forum 2008
Auditorium of the National Technological University (UTN-Avellaneda)

23 October
La Plata International Festival of Theater Dance
Sala Astor Piazzolla - 20:00 hs
Under de Auspice of the Dutch Embassy in Argentina

20 and 27 June 2008 20:30hs
for the Festival CoCoA 10! More info:

2-6 July Video Conference
at 22nd World Congress on Dance Research CID-Unesco (Athens)

With the support of Prodanza, Ministry of Culture of the Government of Buenos Aires and the Dutch Embassy in Argentina.

Each element/movement is functional to the whole and due to this functionality, also relative to the state and situation of the system.”

The piece is an investigation on recycling, use of resources and rational use of energy. An Investigation about the coexistence of the concrete and the abstract.

“Each element/movement is functional to the whole and due to this functionality, also relative to the state and situation of the system.”

Greenhouse Effect, inspired in the climate change, recycles artistic, stylistic and technical elements from the past into the eclectic contemporary art form. Its escenography is almost fully made out of recycled material. All lighting effects are made with four (less if possible) old spots from the 60’ties of 500 watts. This is a low Co2 emission piece which promotes hand-made work, recycling and rational use of energy.

Greenhouse effect is a contemporary dance piece where the concept of Choreoformography*, merges visual arts and dance in a poetic evocation of nature trough hand-made moving designs. The vital manual live lighting and scenic transformations in charge of the two stage managers interplay with the performer and designs to depart on a journey through the different energetic identities that rule the transformation of the elements of nature.

About the concept Choreoformography (brief historical background):

Choreoformography is a design technique based on Modern Visual Arts Applied to dance oriented to the total abstraction of the human body form. The concept is inspired mainly on the legacy of the Bauhaus movement in the field of experimentation on the scenic application of spatial arts and their relationship with movement (Oskar Schlemer & V.Kandinsky) and also Alwin Nikolais’ later on. Nevertheless, there is a significant difference with Nikolais work in the kind of design of Choreoformography*,more related to Calder's work.

See: "Choreoformography" below

April 22, 2008


At this stage of the development of dance research and technology applied to scenic arts, I would say that “Choreoformography” has become a specific kind of design oriented to abstraction of the body and the merge of visual arts and dance. There have been many artists on the same line of research since Flora Martinez, my master, began her investigations in the 50’/60’ . Nevertheless, her creations remained unique due to her method of design related to the development of sculpture (and painting) and the possibility of movement and transformation within the forms she found.

I translated some press critics below, from the archive of Flora Martinez’s work, that will help to give a better idea of the term she used to name her investigation.

Le Matin 2/12/1977 (Lettres - Arts, Forum de la Danse, Paris)

"Flora Martínez, from the argentine group Koreia, invented the Choreoforms… they give us a show of painting and sculpture… from the colors of Paul Klee to the mobiles of Calder... Lines and volumes , matter in movement, a new meeting with the Spiritual in Art of which Kandinsky talked about”

La Nación - 17/11/1966

La Prensa - 15/1/1978

"The choreographies depart from the matter as a whole towards the different forms that are determined by the movement in a process of aesthetic transformations ruled by the interplay of energy and beauty. The creator (Flora Martinez) has defined with the name of Choreoformography the concrete manifestation of her research, introducing a new word in the artistic world …”

La Razón - 10/6/1988

"... the characteristic is the expression through pure forms that escape the frame of traditional choreography, producing in the onlooker an amazing visual effect and the creation of human sculptures on stage”.

Clarín - 18/12/1991

"The movements make use of all instances of light to express themselves and get close to the kingdom of dreams”

La Prensa – 11/12/1991

“The search of a plastic significance product of forms, colors and movement… mold a self coordinated system universe"


April 21, 2008

Interesting Quotes

Everything has a secret soul. Kandinsky

An artist is not paid for their labor, but for their vision. James McNeil Whistler

Inspiration exists, but it has to find you working. Pablo Picasso

Technique is important...but only on the condition that one has so much that it completely ceases to exist! Picasso

Do not bother about being modern - Unfortunately it is the one thing that, whatever you do, you cannot avoid. Salvador Dali

Success is dangerous. One begins to copy oneself, and to copy oneself is more dangerous than to copy others. It leads to sterility. Pablo Picasso

Drawing is like making an expressive gesture with the advantage of permanence. Henri Matisse

Color! What a deep and mysterious language, the language of dreams. Paul Gauguin

Abstract art is inherently about the search and about not finding anything. Gerhard Richter

Color is where our brain and the universe come together. Cézanne

Only an artist has the patience to spend a lifetime to become an artist. Hedda Sterne

I am always doing that which I cannot do in order to learn how to do it. Pablo Picasso

Efecto Invernadero: Critica - eNescenaHOY

Entre todas las posibilidades que tiene la danza contemporánea, “Efecto Invernadero” se acerca a lo más vanguardista. La investigación coreográfica no es formal sino temática, es decir que parten de un tema a través del cual se desarrollaran los movimientos, la música, el vestuario, las luces y la escenografía. En este caso el tema parece partir de los elementos de la naturaleza, sus cambios y evoluciones.
La plasticidad de movimiento de la bailarina, Marisa Quintela, es muy bella. Las formas que genera en el espacio, junto con el vestuario, proponen un juego de imaginación para el espectador. A que se parecen esas formas? Son simplemente bellas? Como se relacionan con el título de la obra? Estas preguntas son claves de juego a la hora de abordar la obra.
La música y las luces crean climas, que también despiertan la imaginación hacia la temática ecológica y energética que propone Efecto Invernadero.
Durante el transcurso de la obra, las operadoras escénicas van armando y desarmando las luces y la escenografía, esto también se vuelve parte del espectáculo.
Es una obra contemplativa, recomendada para bailarines y artistas plásticos. Da mucho lugar a la interpretación del espectador, es para aquellos a los que lo no les gusta todo servido y para jugar libremente con la imaginación.
Ayelen Graneros

October 9, 2007

Action Net for the Enviromental Defense

To be part of the net, send an e-mail to:


An attempt to promote awareness about the different problems that affect our Earth.

Thanks for your help in the fight for a sustainable future.

Interesting Links:

- Recycling Guide
- Insecticides+Herbicides+Fertilizers
- Climate Protect Organization
- Nuclear energy, radiation and uranium contamination

- Biofuels Reprot EC 2006/07
This above is the reason why countries like mine, had to give most of their ground to Monsanto GMO Soja, devastating Traditional Idian Comunities, Flora and Fauna, diversity of producction for internal consumption and other consecuences like healt problems.

- Human Movement for Green Energy (Example)
- Human Movement for Green Energy (Research)
 According to the links above, we could generate the energy we need to spend. For this we would  have to eat and drink more, so it's imperative to look after the land and water all over, not only at home. 

"Only after the last tree has been cut down. Only after the last river has been poisoned. Only after the last fish has been caught. Only then will you find that money cannot be eaten."