In this first stage of the research, curatorial practice was approached from a sensory perspective, beginning with the development of a theoretical framework centered on perception as a multisensory, culturally mediated, and situated phenomenon. Drawing on authors such as David Le Breton, Paul Rodaway, and David Howes, the study explored the relationship between body, senses, and environment, questioning the hegemony of visuality in Western societies and recognizing alternative sensory epistemologies present in different cultures. The research establishes that the body is the measure of the world, and that the senses —both external and internal— are active tools of knowledge, capable of generating a symbolic possession of the environment and constructing meaningful experiences in dialogue with their context.

As a result of this conceptual framework, Project C was developed as a spatial–perceptual measurement device designed to identify, map, and activate the sensory potential of a space, whether public, private, or intimate. Its structure is organized into measurement wheels that record contextual, environmental, social, architectural, and perceptual variables, linking them to sensory thresholds. This device functions as a diagnostic tool prior to intervention, a guide for designing curatorial experiences, a repository of sensory data, and a platform for public engagement.

Together, these elements lay the groundwork for a curatorial approach that shifts the focus from the dominant visual regime to an expanded field of sensory experiences, fostering critical, inclusive, and relational practices. This first stage leaves as a legacy a conceptual and methodological framework that enables the arts to be addressed through the active interaction between body, artwork, space, and community.