_____ This thesis deals with the question of the sensation of mobility engaged in the artistic experience by a dancing body immersed in a perceptive area which is created through its unceasing relation with its environment. Illustrated through works of artists and choreographers, these researches are motivated by my own practice as a visual artist. Through dance, it concerns “practices of the instant and intensity” which generate processes of perceptual immersion. Their significance is to give greater importance to improvisation within the relaxed state of awareness, which generates an active receptivity, a specific alertness usually produced by the dimension of sound upon listening rather than by seeing and viewing.

_____ This researches starts by interrogating the typical qualia working in this paradoxical active and relaxed state, with its own thrust into the intelligence of the movement of the body. They encompass the temporal-material, the weight as a multi-dimensional energy, the degree of opening of the sound’s dimension and the sense of movement. The second part of the work is related to the paradigm of emergence upon emphasizing the uncertainty’s experiment in contemporary artistic practices through the concept of “dissipatives structures” created by Ilya Prigogine while considering the concept of “virtual” applied to the works of choreographers such as Preljocaj or Flamand.
Processes associated to chance and opening are explored through the erratic meanderings of visual artists such as Francis Alÿs and through the emotional approach of space-time in my own works. The third part is focused on the intensive “practices of the instant” by such dancers as Menaut, Haleb, Fiadeiro and such visual artists as Turrell and Janssens. These practices concentrate on the actual situation and its contingent parameters to generate a process of creation.

_____ Dance appears as a paradigm for contemporary visual practices, which, conversely, by back retroaction, are reflected in choreographic works. The resonance of this kind of plastic-dancing nexus stresses the overwhelming role of listening to the spatiality operating in these non-spectacular artistic processes.

Key-words: dance, instant, duration, improvisation, immersion, scattered temporality, regenerescence