Digital Performance in Flesh and Bones Aila Regina da Silva, Antonio Herci Ferreira Junior, Arthur Lara, Denise Melo PGEHA – Postgraduate Program in Aesthetics and Art History MAC (Museum of Contemporary Art) / USP (University of São Paulo) aila.regina@usp.br; antonioherci@gmail.com; artagent@yahoo.com; denisemelo@yahoo.com Abstract This artwork investigates the Brazilian urban body through per- formance. Unifying concepts of new rhythmic music and concep- tual dance in performance, this article uses artistic movements in Brazil that are suffering marginalization by breaking with the established aesthetic. Discoursing about aesthetic axioms, the influence of technology in people’s daily lives and connecting those elements with music and dance history pieces; this article aims to project questions around the value of popular culture. Small sketches of public dance interventions with live music are used in order to analyse the potential of daily movements and popular dance by digital media. Musical matrix connected to traditional rhythms involving everyday gestures, repetitions with the gradual introduction of electronic music in choreography after the performance, producing a videoart built by metacreation and performance concepts. We present a kind of critique of the new mass phenomenon that becomes a fever and viral spreads music icons and, through per- formance, invite the public to think about society reality and the questions around contemporary music, dance and old paradigms. Keywords Popular culture; aesthetic of art; creation process; metacreation. Introduction Those responses, meanwhile, should not be presented as immutable or fixed, but should be flexible and capable of prospects for changing. "Flesh and Bone" aims to interpret and analyze a characteristic phenomenon in Brazilian cul- tural production: prejudice or discrimination, recurrent and frequent in various historical periods, putting the cultural production in a resilience paradigm. Particularly we can see this matter in cases of discrimination and even crimi- nalization of facts passed in Brazil due to certain popular rhythms and dance like Maxixe (XIX century); Samba (XX century) and Funk music (XXI century). But in order to investigate such issues, it was necessary to take some precautions about procedures or values that though widely recognized and theoretically accepted in the field of Aesthetics, they seemed to us insufficiently ade- quate to approach the phenomenon today. Therefore, in this work we used two kinds of approaches to deal with those issues: (i) creative research and (ii) relational approach. The Creative searching As creative searching, we understand a configuration that organizes two branches of aesthetic search and language; interlinked and indissoluble. The theoretical search of the listed questions or subjects and the application of some conclusions or considerations in the real work of artistic production. The most important, in this kind of approach, however, is the coming and going of information and expressions, be it in the translate of theory in artistic movement (sound, choreography, projection, etc), be it in the theorization of how the interaction with the performance and the public was passed effectivelly. The relation between the two fields we can, hardly, call Adorno dialetic, were the con- flict and questions inherent to each ones can´t be solved in a possible media point, or mediation by center: it is solved by limits and extremes, not solving the problems, but open- ing perspectives and interpretation. That is, a choreograph- ic questions can´t be solved theoretically, as a theoretical questions can´t be solved choreographically, but both of them was solved in interaction, exploring just the limits of their definition of fields, that is, the limits between theory and artistic pragmatically. Relational Approach The second point that origins that creative search is the relational consideration of aesthetic object. This work starts from the conception that the object of art can´t be understood as a given object, which was recognized by an essentiality around the beauty and fixed in their aesthetics values. On the contrary, the object of art is given socially, pro- duced by artists, metaartists or by interaction with the pub- lic, directly. It is an object that can be fixed as aesthetic or, indeed, as a work of art just through determinated relations in a licit form of life [1]. This means that to the creative search “Flesh and Bones” it is not like to persecute or try to reveal the essence that flows from work of art; but interpre- tate and understand the phenomenous and social relation that figures the aesthetic universe, so that the work can be understood as a work of art. That is, it´s suitable to investi- gate the game of language in a given society where it is