Under this frame we conceive sexuality as an artistic and technological creation, we engage on post porn self organised events.
We understand no separation between private and public, art and life. Out of our experiences on gendered behaviours, classifications, discriminations and privileges, we infiltrate our bodies and contaminate the visual capital of production introducing noise, a conceptual
and embodied blitch at the mainstream flow through intimate performances, vj sets and public interventions.

Under the concept of performance art melted with the performativity concept (on gender), we understand our actions as presences than
as representations. Following Donna Haraway's notion of cyborg as theorized and fabricated hybrids of machine and organism:
our artworks display entities created by visual, sound and textual prosthesis that grow out of our personal experience Understanding the term
of prostetics not only as modification of the bodies under a feminist perspective that aims on the performative destruction of culturally imposed gender codes, but also as an expansion of the self by modifying and creating new organs and functions, different ways of being and doing.
Where we occupy no conforming decisions or positions. As Beto preciado says: Gender is not only a performative effect is most of all a process
of prosthetic incorporation. We use the term exo-sculpture, referring to recycled sensors and circuits attached to our body implemented with other urban elements. Exosculptures are not only aesthetic outfits, they fulfil functions and favourpractises.

and hack explore and inquietudes and

Through them we expand like liquid organic architectures. We sound out of homemade bended recycled circuits. Bending means introduce
oneself to the machine and intervene or penetrate with wet fingers at its guts, by becoming resistance.
Noise As multiplicity according to M. Serres If we cut out noise (understanding it as queerness), we risk cutting out possibility. Noise is misunderstood for the same reasons as drag: it shows through the appropriation of nonmusical elements that tone and rhythm are, like gender, simply social constructions. According to this, we take Noise as a central element to provoke opening in a symbolic performative way.
Transnoise study the articulations between art & science and art & technology, and their function in the production of subjectivities.
Open code Is a community creation and a response to proprietary corporations and patents. We always appropriate technology under a critical view thinking on its use, circulation and hyper consumption. We consider that the understanding and use of low technologies is important in terms of knowledge and constitutes us more autonomous in our every day activities. inviting in a more active attitude towards the machines and open source attitudes.
The workshop is focused on experimental music and performance emphasizing the way we produce and generate our technologies in a similar sense to also generate our freedom of gender and play the roles that we want to (re-appropriate) and perform.
We are interested in a collective creation of DIY artefacts that produce noise as a tool of re-signification of our relationship with technology.
We aim to create a recreational space, by creating hybrid bodies through recycling technics as a symbolic process of transformation through the re-appropriation of everyday objects and electronics.

O1o1o1o -Logic/non logic gender of nOise- oooo1o1o1o1o1o1o1o1oo1