Sensoria returns this year by departing from within the landscape of constant stimuli that contemporary technology produces—and exploits—and the flattened conditions of the interactive media environment that surrounds us. In this context, the program advances a more deliberate and grounded framework, one in which sensing and feeling assume a central role.

This edition reflects on the lived experience of moving through an unceasing current of images, sounds, notifications, and data. They are conditions in which the body and mind are compelled not only to receive information, they are to register it all at once. Here, overstimulation is not understood simply to denote an excess; it marks a temporal disjunction in which the senses continue to operate while emotion has yet to take shape. One encounters an abundance of impressions without necessarily being afforded the space to feel them in their entirety.

Between sensing and feeling, the interval grows increasingly thin. Information accelerates, while emotional response lags behind. When these two registers fall out of alignment, experience becomes dense yet indistinct: one knows without fully understanding, feels without being able to name. Such conditions are further inflected by the strata of the collective subconscious—memory, bias, and prior experience—through which no incoming information remains neutral. The boundary between fact and perception, in turn, becomes progressively diffuse.

 Through an interdisciplinary approach, Sensoria situates this inquiry within scenography and audiovisual performance. Light, sound, space, and the body are approached not merely as conveyors of information, but as agents that actively shape sensory and affective experience. Central contradictions of the subconscious are brought into relation: between adaptation and the ongoing search for rhythm within a terrain of constant impulse. These tensions are not resolved. Rather, what remains indeterminate is sustained—and, in that suspension, made generative.