Thermina is an ongoing research process about the choreographic possibilities of digital performance art, initiated as a research residency in New Scenic Languages at Centro Cultural Conde Duque (Madrid, 2018).

On the one hand, it tackles the ever-problematic question of notation in dance from the point of view of current tools for motion capture, collaborating with the Motion Bank initiative, started by William Forsythe in 2010 and currently part of the Institut Designlabor Gutenberg of the University of Applied Sciences Mainz (Frankfurt, Germany) under the supervision of Scott deLahunta. In that regard it reviews, in a deliberately broad and general sense, the various instruments available for capturing movement, thinking of the body beyond the scale of the organic, the singular, the solid or the material, and movement beyond the processual, eventual or executive. The aim would be to use these technologies not only documentarily, as a record, but critically and creatively.

In this sense and on the other hand, this coding practice is also thought of as a heuristic exercise of discovery and development, not only testing the viability of the different technological applications on dance with which it is possible to experiment and work today, but also inciting, through this, new ones to be tested as well. This exercise is motivated both by the disproportionate optimism, spectacularism, conventionalism, conservatism and even reactionarism with which these technologies are mostly being used and by the concern to establish common artistic grounds between physical or conventional dance practices and the field of CGI art, also called 3D or render art, which is in essence equally scenic and choreutic and which, moreover, already presents its own sensibilities, approaches and poetics about bodies in movement.