8

This paper considers a contemporary sensitiveness linked to the event of the bodily perception of sound: starting with the plastic properties of electronic music’s sound; deconstructing and reconstructing scenic elements of festive movement from industrial and techno music; tracing the traditions initiated by the “universal artwork” ( Gesamtkunstwerk) the performance, and lastly the work called immersive, we will update the organization of a “kinesthetic space.” The immersed body in this “space event” would test high intensity sensations—a body that we call “without organ,” a reflection of our postmodernism in its quest of exacerbated sensations and interstitial spaces of freedom.