Personal Information
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Given name: Sergio Patricio









Surname: Valenzuela Valdes









Email: sergio.valenzuela.v@uacademia.cl









I understand that by submitting this form, I consent to the use of my data for the purposes of the 2026 Forum on Artistic Research'.: Yes









I agree to the terms of service.: Yes













Your contribution
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Title: NON-COMPUTABILITY, ANTICIPATION, AND THE LIMITS OF PREDICTION: LIVE ARTS AS AN ONTO-EPISTEMIC LABORATORY









Format: Other format (7)









Main language: English









Abstract:
This presentation proposes an ontological reflection on Live Arts based on the distinction between prediction and anticipation, arguing that they represent divergent modes of inhabiting time. Prediction, rooted in the modern episteme’s linear and control-driven logic, is viewed as a residue of reductionist scientific thought that forecloses indeterminacy. In contrast, anticipation is conceived as a vital, relational quality inherent to living systems and contemporary artistic practices unfolding from the immanence of experience.

Drawing on complexity theory (Gershenson, Rosen) and the biology of cognition (Maturana and Varela), we define anticipation as radical enaction: an epistemology and ontology of non-linear time where past, present, and future form an emergent continuum. This reframes artistic practice as an onto-epistemic laboratory where time is a field of co-emergence rather than an axis of succession.

By revisiting these reflections through the artistic practices of creators such as Del Re, Calfuqueo, Gallego, Bate, and Munguía, the presentation describes how Live Arts challenge the notion of predictive composition. Through a video-essay presentation format, we attempt to observe how these artists' practices embody temporality in anticipation, becoming examples of how distinguished they are from more conventional practices based on controlled disciplines. In doing so, the research transforms the traditional idea of control into a temporality grounded in anticipatory practices. We conclude that Live Arts operate as a privileged territory for exploring a non-linear ontology of time, offering a space of resistance to the hegemony of prediction and an openness toward anticipatory modes of existence at the intersection of art, science, and philosophy.

The contribution consists of a video-essay presentation followed by a moderated Q&A.











Image: https://www.sar2026.ie/system/files/webform/submit_contribution/204/anticipator%20practices.jpg









Short biographies of the presenter(s):
- Sergio Patricio Valenzuela Valdés is a PhD in Art Research and Cultural Studies and an MA in Art and Science from the University of Applied Arts Vienna. A professional stage designer (University of Chile), his transdisciplinary career includes collaborations with the Dept. of Quantum Physics (Uni Wien) and the Innovation Laboratory (Vienna). He has held academic residencies at ERG Brussels, Accademia di Belle Arti di Venezia, and Concordia University Montreal. Director of FIDET and award-winning choreographer (2025-26), he was a CONICYT fellow and currently coordinates Continuing Education at UAHC, Chile. His research focuses on the intersection of artistic research and transdisciplinary practices.










Previous presentations or iterations of the research:
The current proposal is the culmination of a multi-year research trajectory exploring time, movement, and transdisciplinary practices. Key iterations and foundational presentations include:
2024: “Anticipation” – Foundational Conference, Royal College of Arts (RCA), London. (Direct precursor to the current theoretical framework).














Requirements
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Additional information:
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Potential risks or ethical concerns:
There are no physical risks involved. Ethically, the research involves the representation of "minoritised" and indigenous identities (e.g., Calfuqueo). To address this, the project adheres to strict protocols of citation and situated knowledge, ensuring artists' works are analyzed within their specific cultural contexts. All featured creators have consented to the use of their archival materials for research and educational purposes.










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