When two people move in synchrony, they become more social. Yet it is not clear how this effect scales up to larger numbers of people. Does a group need to move in unison to affiliate, in what we term unitary synchrony; or does affiliation arise from distributed coordination, patterns of coupled movements between individual members of a group? We developed choreographic tasks that manipulated movement synchrony without explicitly instructing groups to move in unison. Wrist accelerometers measured group movement dynamics and (...) we applied cross-recurrence analysis to distinguish the temporal features of emergent unitary synchrony and distributed coordination. Participants’ unitary synchrony did not predict pro-social behavior, but their distributed coordination predicted how much they liked each other, how they felt toward their group, and how much they conformed to each other's opinions. The choreography of affiliation arises from distributed coordination of group movement dynamics. (shrink)

Dance provides natural conditions for studying relationships between coordination patterns and human experience. von Zimmermann and colleagues investigate whether relatively simple or more complex forms of movement coordination are related to pro‐social experiences during group dance. They find that pro‐social experience depends on the degree to which movement patterns are distributed and diversified, but not the degree to which movement patterns are simply unitary.

Choreographies of the Living explores the shift from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman's bioaesthetic framework describes how art-making binds us to other animals in literature, visual art, dance, and performance.

Choreography for One, Two, and Three Legs approaches the intentional formation of bodily movement and expression from the various perspectives of individuals who are differently abled. Exploring what it is for a non-dancer to experience various rhythms and movements and spaces with crutches, prosthetic leg, and cane, the essay interweaves phenomenological description and interpretation of suddenly defamiliarized daily activities with discourse drawn from the experiences of professional dancers who are differently abled. The aim is to foreground the opacities, transparencies, (...) and ambiguities of a more general sense of embodied and expressive movement that subtends the abled and differently abled and the non-dancer and dancer, and to acknowledge the lived and living body as the common ground that enables all of our thoughts, movements, and modes of expression, however differentiated their myriad forms and satisfactions. (shrink)

How is violence conventionally portrayed and where does violence lie in representation? How does photography mediate the relationships between different forms and ideas, moments and experiences of violence? These were some of the questions addressed in a conversation between artist Harri Pälviranta and philosopher Stefanie Baumann organized by Alexandra Athanasiadou, founder and director of the online platform Philosophy & Photography Lab (PHLSPH), during the international Photography Festival, Imago Lisboa, in Lisbon during October 2022. The discussion presented here is edited from (...) a transcript by Athanasiadou. It took place at Lusófona University in Lisbon on the occasion of Pälviranta’s exhibition at the Museu Nacional de Arte Contemporânea (MNAC) (6 October 2021–8 January 2023) and focuses on two series of works in the exhibition, News Portraits and Choreography of Violence. (shrink)

Xavier Le Roy’s performance Self-Unfinished is emblematic of how contemporary dance’s resistance to the submission of the body to a codified ideal body model manifests itself through the staging of bodies “beyond codes”, i.e., bodies that take surprising, sometimes even apparently “monstrous” shapes. The purpose of this article is to investigate the “monstrosity” of Self-Unfinished and to sketch out an analysis of it following Hermann Schmitz's theory of the Leib and Tonino Griffero’s account on atmospheres.

This is a 2020 revision of my 1988 dissertation "The Choreography of the Soul" with a new Foreword, a new Conclusion, a substantially revised Preface and Introduction, and many improvements to the body of the work. However, the thesis remains the same. A theory of consciousness and trance states--including psychedelic experience--is developed. Consciousness can be analyzed into two distinct but generally interrelated systems, which I call System X and System Y. System X is the emotional-visceral-kinaesthetic body. System X is (...) a harmonic system of "endokinetic" (internal bodily) and "ectokinetic" (emotionally expressive) movement. System Y is a "teleokinetic" (goal directed) system that includes language, cognition, perception, voluntary motor control, manipulation of the environment, etc. Contrary to theories of consciousness prevalent in the Western philosophical traditions that begin with Plato, I argue that System Y is secondary to and dependent upon System X, not the reverse. In building my thesis I draw upon the work of Friedrich Nietzsche, psychoanalysis, Jungian depth psychology, political anthropology, modern neuroscience, Pythagorean music theory, and the mathematical theory of harmonic systems. (shrink)

ABSTRACT The essay explores Alva Noë's theory of choreography as a practice that recapitulates quotidian forms of perception—perception understood as a set of organized behaviors aiming for “the right critical stance.” Noë argues that the moment when we become aware of the organized, constructed nature of our behaviors is not a “breakdown” but rather a choreographic “display” of perception as a form of research. I begin by examining how his theory of dance and dance spectatorship developed through collaborations first (...) with Lisa Nelson, then with William Forsythe. Next, while still approaching choreography as the “display” of perceptual practices, I move toward a conclusion that Noë allows but does not pursue. Studying a scene from Pina Bausch's Café Müller, I propose that choreography displays not our mastery of reality but our lack thereof. Perceptual habits give us a world, but one in which we are never quite “at home.” For me, the conceptual payoff of the aestheticization of movement is not simply that we become aware that perception is organized and rhetorically framed, but also that perceptual practices are impeded by the “critical stance” or rhetorical frame that orients them. (shrink)

Canadian and American population-based research concerning sexual and/or gender minority populations provides evidence of persistent breast and gynecologic cancer-related health disparities and knowledge divides. The Cancer's Margins research investigates the complex intersections of sexual and/or gender marginality and incommensurabilities and improvisation in engagements with biographical and biomedical cancer knowledge. The study examines how sexuality and gender are intersectionally constitutive of complex biopolitical mappings of cancer health knowledge that shape knowledge access and its mobilization in health and treatment decision-making. Interviews were (...) conducted with a diverse group of sexual and/or gender minority breast or gynecologic cancer patients. The LGBQ//T2 cancer patient narratives we have analyzed document in fine grain detail how it is that sexual and/or gender minority cancer patients punctuate the otherwise lockstep assemblage of their cancer treatment decision-making with a persistent engagement in creative attempts to resist, thwart and otherwise manage the possibility of discrimination and likewise, the probability of institutional erasure in care settings. Our findings illustrate the demands that cancer places on LGBQ//T2 patients to choreograph access to, and mobilization of knowledge and care, across significantly distinct and sometimes incommensurable systems of knowledge. (shrink)

Using relevant theoretical approaches, this article seeks ways in which to consider the conditions of existence of a politics of recognition through the elaboration of ‘regimes of recognition’. The ‘regimes of recognition’ are developed through an understanding of decentred political and social formations that, nevertheless, foreground a series of sites that are central to the politics of recognition: democracy, citizenship and the nation. This article takes issue with current accounts of the demise of the nation as both imaginary and territorially (...) realized. Instead, it offers a substantive account of political activism in Ecuador as one moment in the politics of recognition. (shrink)

This multi-authored volume presents the findings and conclusions drawn from a large-scale funded project exploring elite schools within various global settings including those in Hong Kong, India,...

Contemporary choreography offers a window onto creative processes that rely on harnessing the power of sensory sys- tems. Dancers use their body as a thing to think with and their sensory systems as engines to simulate ideas non- propositionally. We report here on an initial analysis of data collected in a lengthy ethnographic study of the making of a dance by a major choreographer and show how translating between different sensory modalities can help dancers and choreographer to be more (...) creative. (shrink)

A humanoid robot named ‘Sophia’ has sparked controversy since it has been given citizenship and has done media performances all over the world. The company that made the robot, Hanson Robotics, has touted Sophia as the future of artificial intelligence. Robot scientists and philosophers have been more pessimistic about its capabilities, describing Sophia as a sophisticated puppet or chatbot. Looking behind the rhetoric about Sophia’s citizenship and intelligence and going beyond recent discussions on the moral status or legal personhood of (...) AI robots, we analyse the performativity of Sophia from the perspective of what we call ‘political choreography’: drawing on phenomenological approaches to performance-oriented philosophy of technology. This paper proposes to interpret and discuss the world tour of Sophia as a political choreography that boosts the rise of the social robot market, rather than a statement about robot citizenship or artificial intelligence. We argue that the media performances of the Sophia robot were choreographed to advance specific political interests. We illustrate our philosophical discussion with media material of the Sophia performance, which helps us to explore the mechanisms through which the media spectacle functions hand in hand with advancing the economic interests of technology industries and their governmental promotors. Using a phenomenological approach and attending to the movement of robots, we also criticize the notion of ‘embodied intelligence’ used in the context of social robotics and AI. In this way, we put the discussions about the robot’s rights or citizenship in the context of AI politics and economics. (shrink)

The component structures of two distinct neuropsychological systems are described. "System-Y" depends upon "system-X" which, on the other hand, can operate independently of system-Y. System-X provides a matrix upon which system-Y must operate, and, system-Y is transformed by the operations of system-X. In addition these neuropsychological structures reverberate in political history and in the cosmos. The most fundamental structure in the soul, in society, and in the cosmos, has the form of a conical spiral. It can be described mathematically as (...) an harmonic system and mythologically in terms of the birth, marriage and death of the divine-king. ;System-Y corresponds to the neocortex. System-X corresponds to the region below the cortex including the limbic brain. Many of the essential structures of system-Y are captured by Plato's image of the helmsman: orientation, locomotion, manual control and dexterity, visual guidance, verbal command, intention, and volition. System-X on the other hand has been systematically neglected by Western culture, beginning with Plato. ;The dissertation builds upon Yakovlev's distinction between "teleokinesis," "ectokinesis" and "endokinesis." "Teleokinesis" refers to goal-directed action in external space, and belongs to system-Y. Ectokinesis and endokinesis are components of system-X. "Endokinesis" refers to movements within the body. "Ectokinesis" refers to the emotions, which are expressions of endokinesis. The mechanics of ectokinesis is that of an harmonic or vibrational system, as is the mechanics of a musical instrument. ;Within a trance the structure of system-Y is temporarily altered, such that system-X enters the foreground of awareness. Because ectokinesis is analogous to music cultures inspired by trance experience understand the universe in terms of music. The structure of ectokinesis in a trance is that of a conical spiral. Plato inherited the mystical traditions of the ancient Near East but replaced the spiral of emotions with a spiral of ideas , by understanding the axis of the cone as the paradigmatic dimension, and the angular rotation of the spiral as the syntagmatic dimension, of language. Finally I explain how the mythology and political structure of theocratic society imitated the neuropsychological structures of trance experience. (shrink)

Contemporary choreography offers a window onto creative processes that rely on harnessing the power of sensory sys- tems. Dancers use their body as a thing to think with and their sensory systems as engines to simulate ideas non- propositionally. We report here on an initial analysis of data collected in a lengthy ethnographic study of the making of a dance by a major choreographer and show how translating between different sensory modalities can help dancers and choreographer to be more (...) creative. (shrink)

This article shows that social norms are better explained as correlating devices for a correlated equilibrium of the underlying stage game, rather than Nash equilibria. Whereas the epistemological requirements for rational agents playing Nash equilibria are very stringent and usually implausible, the requirements for a correlated equilibrium amount to the existence of common priors, which we interpret as induced by the cultural system of the society in question. When the correlating device has perfect information, we need in addition only to (...) posit that individuals obey the social norm when it is costless to do so. When the correlating device has incomplete information, the operation of the social norm requires that individuals have a predisposition to follow the norm even when this is costly. The latter case explains why social norms are associated with other-regarding preferences and provides a basis for analyzing honesty and corruption. (shrink)

Drawing on ethnographic research with two Orthodox Jewish outreach organizations, this article conceptualizes interpellative styles and offers a framework to analyze how styles are variously situated, mediated, performed, and disruptive. I mobilize a micro-interactional approach to parse out how these four dimensions shape ideological recruitment and their roles in the choreographies of identity disruptions and repairs. The two case studies illuminate why and how groups deploy different interpellative styles and what elements shape whether styles are effective. In these ways, the (...) article contributes to scholarship on how people become persuaded to take on new identities and provides insight into the resistance and failures groups encounter when attempting to interpellate others. I conclude with a discussion of how a theory of interpellative styles can be applied more broadly and used to investigate the overlap between cultural, physiological, and psychological processes in identity formation and alteration. (shrink)

The aim of this chapter is to shed light on the power-related infrastructural dynamic that actualises in the interrelations of big data collection and the bodily movement of urbanites in contemporary cities. By drawing from Husserl’s and Merleau-Ponty’s phenomenologies of the body and combining them with recent theorisations on choreography, material media theory and critical technology studies, the authors address city dwellers’ embodied relations with mobile devices and ambient technologies as integral to the micro-, meso- and macro-level production of (...) urban infrastructures. By way of discussing the technologically mediated kinaesthesia and movement trajectories of lived bodies, the chapter develops a novel conceptualisation of urban choreography for exploring the mechanisms through which dwelling-in-the-city today functions in a globally extensive cybernetic feedback loop with profit-motivated and surveillant big data operations. (shrink)

The subject of the study is one of the main lines in the work of choreographer John Neumeier - the interpretation of literary works on the ballet stage. This article discusses his productions based on literature such as "The Lady with Camellias" (1978), "Peer Gynt" (1989/2015), "The Seagull" (2002), "Death in Venice" (2003), "Anna Karenina" (2017), "The Glass Menagerie" (2019). Neumeier's ballets reveal a special relationship between literature and choreography. The performances created by him are not just a fact (...) of illustrating the plot of the original source, but an attempt to penetrate into the essence of the author's idea, reflect and emphasize the details found in the text in the language of choreography. The novelty of the research lies in the fact that when analyzing several key performances from the choreographer's creative biography, the prospect of considering the literary line of his ballets as a separate phenomenon opened up. As a result of the study, the following conclusions were made. Firstly, an important feature of Neumeier's ballets, based on literary works, is a clearly structured dramaturgy of all components of the performance: action, music, choreography, set design. Secondly, when working with a literary source, most often the choreographer transfers the action to the modern world, while not going against the author's intention, but on the contrary, enhances the relevance of the themes embedded in the works, declaring the timeless existence of the meanings of the text. Thirdly, the interrelation of literature and choreography in Neumeier's work takes the choreographer's work with the text to an absolutely new level, which allows us to talk about the great possibilities of non-verbal interpretation in the ballet theater as a whole. (shrink)

This article offers a comprehensive review of Political Choreographies, Decolonial Theo-ries, Trans Bodies, the latest book, a volume edited by Marina Gržinić and Jovita Pristovšek in intensive collaboration with Nomusa Makhubu and Tjaša Kancler, published by Cambridge Scholars Publishing in 2023. This volume takes as its starting point the body as a structural signifier, which is conceptualized in seven chapters. Each of them addresses the question of movement, politics, revolt, action, etc., in a variety of ways to de-link ourselves (especially (...) us Whites) from colonial modernity as the organizing principle not only of capitalism but of a whole range of processes that emanate from modernity, i.e., forms of domination and oppression such as racism, sexism, Eurocentrism, and environmental destruction. What makes this book special, however, is not only the positions presented but also the way in which they are presented. Each conversation begins with a carefully selected starting point, linked to the interlocutor’s* work and accompanied by a rich citation system of references and additional information. This opens up the formation of epistemic counter-narratives that confront the violent history of capitalism and form possibilities for yet unidentified bodies, movements, politics, and political action as future potentialities. (shrink)

Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self- (...) class='Hi'>choreography of the sociohistorical, in which performance the sociohistorical plays two dancing roles simultaneously, both choreographer and choreographed dancer. More precisely, as interpreted by Castoriadis in a late essay, the creation and emergence of forms in time consists of a poetic “scansion” or “scanning” of time. Thus, the sociohistorical is both choreographer and dancer, poet and reader, reinterpreting the poetic text of time as the music for its evolving dance. (shrink)

The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of participation (...) in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor. (shrink)

In this article, the authors utilize the philosophical methodology developed by Michael Hardt and Antonio Negri to formulate a theory of educational realism. The goal is to posit an embodied form of education that emerges from within the movements of the multitude. The connection between multitudinous movement and education is the concept of choreography, which destabilizes habituated movements, unleashing creative alternatives. The paper concludes with several examples of choreography as an exopedagogy for cultivating embodied, swarm intelligence from the (...) work of noted choreographer William Forsythe. (shrink)

This essay interprets the work of the German choreographer Pina Bausch with the help of phenomenological examinations by Maurice Merleau-Ponty, Emmanuel Levinas, and Martin Heidegger. Pina Bauschs choreography not only shares basic themes like the everyday, the body, and moods with phenomenology, but they also yield similar results in overcoming traditional dualist frameworks. Rather than being an instrument for expressing ideas, the body is in constant exchange with the natural elements, exhibiting vulnerability and passivity. Moods, in turn, are neither (...) subjective nor objective; this also holds for longing, an essential constituent of Pina Bausch's work. Dance theater and phenomenology, each in their unique ways, are capable of acknowledging and accommodating the ambiguity of our human existence. (shrink)

Controversy arose when a humanoid robot named “Sophia” was given citizenship and did performances all over the world. Why should some robots gain citizenship? Going beyond recent discussions in robot ethics and human–robot interaction, and drawing on phenomenological approaches to political philosophy, actor-network theory, and performance-oriented philosophy of technology, we propose to interpret and discuss the world tour of Sophia as a political choreography: we argue that the media performances of the Sophia robot were politically choreographed to advance economic (...) interests. Using a phenomenological approach and attending to the performance and movement of robots and illustrating our discussion with media material of the Sophia performance, we explore the mechanisms through which the media spectacle and robotic performance advanced the economic interests of technology industries and their governmental promotors. (shrink)

Sarah Franklin’s Biological relatives: IVF, stem cells, and the future of kinship and Charis Thompson’s Good science: the ethical choreography of stem cell research, examine recently normalized biotechnologies. Franklin’s monograph extends her previous work on in vitro fertilization , deconstructing the success of a technology that, she argues, has grown “curiouser and curiouser” while taking hold in scientific and social life. IVF in its diverse aspects becomes a lens for scrutinizing our ambivalence about new technology, which Franklin articulates by (...) putting disparate literatures into conversation: feminist science studies, political economy, fine art, and more. Thompson’s Good science focuses more concretely on the first decade of human pluripotent stem cell research, tracing the field from the innovation of cultured human embryonic stem cells through Bush-era policy debates, to current acceptance of stem cell research as a part of the scientific and policy landscape. Th .. (shrink)

In this article, I analyse line-rendering techniques in drawing and choreography, based on a Deleuzian framework. This pragmatic approach for understanding affect emerges in three distinct formulations. The first engages the coincidence of drawing and choreography at the limit of reach; the second investigates how trace and movement generate different yet mutually resonant versions of semblance. The third framework considers the potential for improvisation in the irreconcilability of contour and surface in the weighted line. These three framings generate (...) an experimental milieu in which I articulate the co-emergence of thought and feeling in relation to relevant concepts of the body and affect. In activating affective intensity in different line-rendering operations, this analysis traces the way that affects help to modulate tendencies of moving, feeling and thinking over a series of operations. (shrink)

This article thinks the place of the body, agency and movement in politics through the body of the asylum-seeker. Asylum-seekers do not have ample space to politically voice their experiences, but their bodies and ways of taking agency are fluid. The Agambenian idea of exceptional space and bare life privileges the power of the sovereign, leaving little space for agency for its subjects. It leads to an impasse, as it offers no viable option of thinking the possibilities of opposing sovereign (...) rule. We have resorted to Jean-Luc Nancy’s philosophy in order to read to the contrary: to sketch the potential of the body to move beyond the reach of sovereign power and to communicate itself and its relations to others. The untenability of the sovereign subject pointed to by Nancy’s ontology of bodies allows seeing the asylum-seeker’s body as expressive and moving body that reorganizes its relations to others and turns it to an active agent from which events of the body politic emerge. With its focus on crisscrossing movement of the body and between bodies, the notion of choreography assists us in envisioning that the space for political agency and community do not pre-exist, but are articulated through bodies’ movements. We argue that either purely textual analysis or focus on administrative rationality is bound to leave possible expressions of political agency aside, and thus to ignore the challenge the bodily choreographies of asylum-seekers pose to political theory. We illustrate our argument with vignettes from Fernand Melgar’s 2008 documentary film The Fortress. (shrink)

It is not the purpose of the present paper to chronicle transformations in the recent history of dance but rather to demonstrate that an art in which the materiality of the body and the localizability of space are critical has nevertheless been engaged in a struggle between sign and image. This struggle cannot be understood without attending to the tensions between the visceral and the virtual, between site specific spatiality and cyberspace. Exploring changes in dance, an art not generally discussed (...) in this context, may help to illuminate the conceptual underpinnings of structuralism understood as a theory of signs and the shift to a poststructuralist culture of images. (shrink)

Ever since I first saw a dance performance I have wondered why it is that I am sometimes fascinated and touched by some people moving about on a stage, while at other times it leaves me completely indifferent. I will argue that an answer to this question has to be searched for in the way sensory stimuli are processed in the brain. After all, all our actions, perceptions and feelings are mediated and controlled by the brain. The thoughts and feelings (...) evoked by a dance performance are no exception and thus they too have a neural substrate in the brain. (shrink)

Liberia’s protracted civil conflict was sustained for a period of fourteen years, killing approximately 250,000 Liberians and displacing half of the population. Liberia’s war, like othe...