Dissertation Prospectus Tracing Gesture Luttringhaus July 5 2023

DISSERTATION PROSPECTUS: KAROLA LUTTRINGHAUS – JUNE 16th, 2023
“TRACING GESTURE: AN ARTICULATION THEORY - REVISITING AND REDEFINING MEANING IN CHOREOGRAPHIC PRACTICE
AND ACADEMIC CONTEXTS”
DISSERTATION PROSPECTUS
Karola Luttringhaus
“TRACING GESTURE
AN ARTICULATION THEORY -
REVISITING AND REDEFINING MEANING
IN CHOREOGRAPHIC PRACTICE
INDEX
 Hypothesis & Core Themes . . . . p.
 Main Areas & Ecologies . . . . . p.
 Core Questions . . . . . . p.
 Narrative . . . . . . . p.
 Methodology . . . . . . . p.
 Chapters . . . . . . . p.
 Case Studies . . . . . . . p.
 Literature Review (situating). . . . . p.
 Plan of Research . . . . . . p.
 Bibliography . . . . . . . p.
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HYPOTHESES & CORE THEMES

Movement has meaning. What is meaning? I investigate, re-fine, and re-define the definitions of
meaning and meaning-making through a lens on choreography, gesture studies, communication,
and an analysis of my specific choreographic process. I compare my process to that of other
choreographers and to philosophies of communication and philosophies of embodiment.
Dance is full-body gesture. I examine my specific process of choreographing for it's characteristics
as a research practice, and an act of translating gesture into dance and back. I am analyzing dance
movements, and embodied expression for their immediacy, and their inter-woven-ness with
meaning and intent. I think of dance as full body-gesture and cross-reference the acts of dancing with
the acts of gesturing, communicating, and connecting with the world. I cross-check my hypotheses
around gesture with linguistics and philosophies of gesture.
The body needs to articulate and communicate. Communication and articulation are built into the
system. By system I mean various organic systems that are all interconnected and developed in
tandem with environmental and evolutionary parameters, biologically and socio-culturally. We
(humans, I am not going to speak for non-humans here, but I am not excluding them) need
communication for our physical well-being and psychological stability. Many movement practices de-
stabilize us physically and mentally. I will compare some of these ways of communicating and
articulating. I will contemplate how practices and ways of thinking are connected and how ways of
thinking affect ways of moving, expressing, and viewing/witnessing dance.
Dance, dance... otherwise we are lost! An articulation theory.

This famous quote that Pina Bausch brought to us from what a 9 years old Roma girl had said to her
once, is the guiding concept behind my investigation. I investigate how dance informs our social,
personal, and communicative lives; how it affects the emergence of insight, introspective and
extrospective abilities and capacities. What does dance do for us? Why is it so important and why
does it play such an important role in so many cultures? Embedded in this research is the formation
of an articulation theory. Explored here are the notions that articulation is taking place at motion
centers, places that facilitate movement, ie at oints; that articulation is built into the system, that
mobility and free form articulation is intrinsic to the complexity and nature of the system; that
articulation facilitates communication and translation both literal and metaphorically speaking; that
articulation is intrinsic to being. I am seeking to paint a multi-dimensional picture of choreography as
a process of 'reorganizing' the world and communicating with audiences through a reciprocal and
oscillatory process of analysis and intuition.

Moving and thinking are part and parcel of one another and mutually inform and benefit one
another. Arguably, thinking is a biological affair, as much as moving is. Moving can not happen
without some form of thinking and vice versa. Move-thinking is how we engage with the world. Much
of our verbal expressions are based on images of moving. I investigate the relationships between
thinking, speaking, and moving.
PAR considerations: Choreographic practice in itself can be considered an intellectual exercise .

There are many choreographic practices. I can not speak for all of them. I will hinge my
argumentation on a few specific examples, focusing this entire dissertation on the acts of generating
movement for the purpose of telling or discovering meaning/intent as in the context of Euro-US-
Canadian dance theatre. That choreographic practice is an inquisitive-expressive one that engages, in
a full-bodied manner, with specific topics of research, similar to academic research, and philosophical
or psychological inquiry. I will be engaging with current questions and concerns in Practice Research
(PAR) and analyze the ways in which choreography of this nature is an intellectual exercise.
We can not not express. I believe that we are built and socialized to interpret and communicate.
Again, my focus here lies on Europe-US-Canadian culture. I can find meaning and messages in
everything, even the most abstract, incoherent, or mundane acts of entertainment are saturated
with information about our culture, mindset, even socio-economic conditions. The movements we
execute or prefer to watch say something about us, about our intents and about our connections to
or disconnect from this inner intuition around gesturing and dancing. Movements don't lie. We just
have to watch carefully and we see what's going on.
MAIN AREAS & ECOLOGIES

I am subdividing my investigation into the following major fields: Practice
Research/Education/Academia, Psychology/Sociology/Anthropology, Choreography/Aesthetics,
Communication/Linguistics.
CORE QUESTIONS – Practice Research

Current questions in Practice Research include: Anthony Downey 1 posed the following questions at
the Practice Research Symposium2 “Practice Research – Interdisciplinary Methodologies in Cultural
institutions and HEI's”:
 How does practice based research, disrupt epistemological utilitarianism? (Anthony Downey)
 How does practice question the use value and application of knowledge as a form of research?
(Anthony Downey)
 How do we understand research in the context of academia? (Anthony Downey)
 How can such questions expand upon the radical capacity of research within academic
settings? (Anthony Downey)
 KTP's Knowledge Training Partnerships (Anthony Downey)
 But how does practice based research play into how we idealize or indeed position the notion
of impact specifically around the politics of epistemology and the politics of knowledge
production? (Anthony Downey)
 I think the second question and just to expand upon that a little bit more is how we
understand the context of practice based research through the demands placed upon it by the
corporate, privatized, and indeed academic sectors? And how do we utilize them? How do we
understand those pressures?? (Anthony Downey)
 Why do we look to practice based research or art practices as a means to produce knowledge?
Where are those demands coming from? Where are those institutional curatorial, critical,
corporate, privatized, and the fact that academic demands coming from and what do they tell
us about the event of knowledge production in our post digital age? (Anthony Downey)
 And given these tensions; given these processes, the practice of art today is not supplemental
to ??? around knowledge production. It's absolutely central and in many ways predicates
many of the debates we're having this sense that somehow practice based research is an
addendum to questions around knowledge, epistemologies, and the event of knowledge
production needs to be examined more closely, because I would argue, and perhaps we will
1 Anthony Downey
2 Youtube video link: https://www.youtube.com/watch?v=7osXtLkTFC0 Practice Research Symposium “Practice
Research – Interdisciplinary Methodologies in Cultural institutions and HEI's”. Organized by Carolina Rito and
Anthony Downey. Introduction by Carolina Rito, professor of creative research at the Center for arts Memory and
community at Coventry University. The description under the video states: “This research event with practitioners and
researchers in the field of practice research aims to explore and discuss the challenges and opportunities in developing
new methodologies in research-led practices and in collaborations with the cultural sector. The event will foster a
conversation between academics, arts professionals and PhD researchers to collectively consider how academic
research can evolve from “research about” to “research through practice” and “research with” cultural organizations.
“. Further Practcie research symposia by Carolina Rito are here: https://www.youtube.com/playlist?
list=PLwLPjXTfgoSNAA-W1ZC__sN8bvINU-EGg

come back to this as we proceed that they're absolutely central to those debates. (Anthony
Downey)
 The final question I've asked is, What alternative epistemological systems are being
progressed or speculatively positioned through practice based research? I think from my own
perspective, it's interesting to look at the way in which practice based research artistic
practice has affected a series of interventions that have questioned, historically questioned,
the determinism of colonial discourse, the rationalizations and racial determinisms of colonial
discourse. (Anthony Downey)
 How does the field of practice these generate methodologies through interdisciplinary
practices? And this is to argue that the research knowledge coming out of practice based
research inevitably engages in interdisciplinarity that we could consider to be a methodology
in and of itself. (Anthony Downey)
 ...practice as a form of speculative research... (Anthony Downey) Now again, I see her
practice based research as a form of speculative engagement, which is very productive in an
academic setting, and questions what we understand to be speculative historical research.
(Anthony Downey) ...opening up a new speculative space to explore those issues...
 What I saw in that moment of Michael's practice, and the amount of research he puts into
that is the artwork becoming a barometer of sorts for the geopolitics of the Middle East. And
in that moment, it becomes a form of historical intervention. (Anthony Downey)
 Now, again, I'm quite interested in the way in which that practice based research, those forms
of practice, question and reconfigure our engagement with the methodologies of the digital.
(Anthony Downey)
 Again, I would expand upon that and focus a little bit more on the way in which knowledge
production in the arts has now entered into, dare I say, the demands of producing evidence, or
an evidentiary context. (Anthony Downey)
 ... art is increasingly being brought toward or challenged forward into this arena of
knowledge production, in order to provide the parameters within which we understand, or we
articulate, modalities of evidence. (Anthony Downey)
Salman Rushdie (from masterclass.com ad for his master class): “We need stories to understand who
we are.”
Salman Rushdie (from masterclass.com ad for his master class): “I think language has a musicality.”
“Write from some place really deep inside of you that you really, really, really need to express.”

NARRATIVE
(from PFS Symposium 2023 paper)
From every-day gestures to sign language and dance performance, our bodies experience,
express, and communicate. I believe that something is always expressed, something is always
extractable from how we hold our bodies, how we gesture, how our bodies are oriented in space.
Meaninglessness does not exist. Within artistic, psychological, and socio-cultural frameworks, the
processes and experiences of meaning-making are deeply embedded in being human.
Choreographers work with this expressiveness in very specific ways. The choreographic process
exists at the changeable intersection of improvisation, deliberation, intuition, cognition, and
embodiment. Choreographers materialize feelings and affect, cultural and psychological
mechanisms, the unknown, and the spontaneous. Through this detail-oriented engagement with the
moving body they initiate social and personal change.
There is a vast knowledge to be gained from looking at the unique and specific ways choreographers
work with meaning-making, and I anticipate offering important conclusions that will resonate into
education and sociology. In Linguistics, much research has taken place on gesture and how it
accompanies and complements speech, and in Philosophy there has been a lot of research around
gesture. I am not aware of any research that illuminates these topics from quite the angle that I am
taking: viewing dance as full-body gesture, examining how dance relates to speech, expression, and
communication; how dance is built into our bodies.
I am hoping that my work will add new facets to the ways we define embodied creativity as integral
part of scholarly practice, that we reconsider the divisions between these two areas.
The conclusion to this research will be a sort of articulation theory. By separating the mind from the
body, logic from art, and theory from practice, we continue to uphold the notion of opposing entities
that, by act of categorization, demand further delineation. I posit that the opposite is closer to the
reality of our embodied existence. I believe that by creating these categories, by insisting on their
separateness and their functioning within entirely different parts of the body (right brain and left
brain thinking, for example) we rob ourselves of the ability to see the complexity through which
function is facilitated. It's not the individual components that make things possible, but their
interconnectedness and cooperative articulation. Through separation we make learning individual
aspects of a thing easier, but loose track of function and connection, thereby curtailing academic
learning experiences and by extension splitting human nature and human beings into fragments
of their whole selves; losing track of meaning.
This bistouryan/dissective approach, a persistent legacy of the European Enlightenment period,

perhaps (I am not planning on providing a historiological look, but rather a snapshot of the current
status), is reminiscent of a deterministic way of knowing that prohibits a much needed look at the
tensegritous enmeshments of all of life's expressions. I propose a softening of these borders and

contemplating co- and inter-being-ness, or at least to allow walls to turn into membranes that serve
as important intersections of communication, function, and 'nutrient' exchange.
I attempt an exploration of the idea that these delineations are only getting us away from
understanding the purposes of education and life in general. I propose that we find more accurate
vocabulary for describing various parts and phases of phenomena, as opposed to dividing the various
phases into separate acts and qualifications of their own.
By trying to justify practice as a viable academic field, or by demoting it to an appendicular or

merely illustrative existence, we are further solidifying the ideas of the possibility of
singularity/identity, and conclusively a binary template for life, by which we further push practice
into the margins and thereby censoring and creating hierarchical value structures for various specific
kinds of practice over others. By engaging with the vocabulary of the binary, even in arguing against
it, we are still affirming its existence. Essentially, everything has to change for us to become a more
just, and respectful people and for us to live a more sustainable life. I will be arguing to an articulation
theory that consists of methodologies for discovering dis-articulations and finding our ways back to
articulation.
For this argumentation I will be spanning a rather large bow across various fields, theories, and
practices. I will be setting my departure and gravitational center point to be a certain kind of
choreographic practice which bridges and exemplifies my theories.
The purpose of creating categories is the attempt at creating meaning, at gaining knowledge and
understanding. This is in my opinion part of life and of being human, but at the moment this practice
is dominant over other practices, resulting in various kinds of violences and injustices.
By means of analyzing my choreographic practice, and the approaches of other current and
historical choreographers, I seek to open a point of view that illustrates the deeply intertwined
nature of what we call theory and practice - two categories that, I believe, belong to the same
spectrum of human activity that Alva Noe calls “re-organizational practices”, indeed, and for the
particular lens of this dissertation, that moving belongs to thinking and thinking to moving, that
they are of and with each other.
My dissertation topic results from a breadth of interests and it focuses on the converging points
that underlie the nature-texture of the kinship between movement and meaning. How is it that
we create or distill meaning from the expressiveness of our moving bodies? How do we make,
transmit, and experience meaning in art and performance; in improvisation or in engagement
with specific narratives or topics? What conclusions may we draw from the constellation of these
elements and interactions, and how do they transfer onto other areas of life? Through the lens of

choreography and a 'hermeneutics of dance' I seek to make visible the specificity, and
complexity of non-verbal communication in kinaesthetic expression.
METHODOLOGY
I am assembling an eclectic mix of practitioners and critics to investigate how they engage with and
talk about choreography and practice research or practice based research. The bow is spanned
intentionally large to illustrate the enmeshment of seemingly disparate or unrelated entities.
Format: my choreographic practice. The dissertation in its format and structure reflects my artistic
choreographic process, which should serve to illustrate how the methodology that applies to
choreography also applies to and parallels other processes of cognizing, thinking, analyzing,
processing, and knowing.
Multi-modal engagement. I am planning to, as much as possible, be leading the reader through an
inter-disciplinary, full-bodied, process that integrates images, videos, audio samples, interactivity of
the dissertation format, and exercises that engage the reader in creative, generative, and generally
more kinaesthetic ways. Examples are physical practice exercises that explore specific choreographic
tools, drawing, journaling, brainstorming, watching videos, engaging with an interactive website,
and more tbd. This multi-modal approach to engaging with the dissertation material will highlight
the collaborative aspects of meaning making as well as support my theories around enrichment and a
more thorough understanding if more than one mode of engagement is offered to the reader,
thereby the reader is more consciously becoming audience, collaborator, co-contributor. I am hoping
to render this dissertation in two main formats: a written dissertation as typically expected and a film
version that adds artistic film elements and most importantly provides all the written text in an
audible format. It is my hope that this way of engaging audiences will make the work more accessible
to non-neurotypical audiences and will further eradicate the hierarchical compartmentalization of
the various modes of engagement.
Also, to re-trace the applicability of my choreographic practice to reading and writing. I want to lead
the reader through a landscape of experiences, exercises, analyses, prompts, arguments, and
suggested thought experiments.

Conversation. I am seeking to conversations between the fields of choreography, philosophy,

psychology, indigenous thought and practice, sociology, communication, linguistics, Performance
Studies/Theatre/Dance Studies, Film Theory, and design and others in order to approximate toward a
more realistically complex experience of the phenomenon of articulating and the role of movement
in that.
Thinkers and practitioners are therefor no longer considered within these separated categories, but
merely pertaining to one big effort of reorganization, understanding, exploring and engaging.
Practitioners and academics are seen as equally informative, wise, knowledgeable and contributory.
I am move-thinking with the following people:
“Pina bausch” as the expert of intuitoin and expression in german dance theatre, groundbreaking and
intricately detail oriented in her choreographic work and verbal expressions about meaning in
choreography.
By interviewing and bringing in artist-scholars from diverse points of view, I seek to map some areas
of the landscape of choreography and communication. My focus lies on choreography and how it
amplifies what we process in daily life and how this amplification in turn alters what and how we act
and experience life. It is my wish to bring choreography to the fore and show the sophistication that
goes into this practice.
PAR Practice Research Considerations. By highlighting the ways in which choreography has overlap
with academic practices, I am not attempting to push choreography into the mold of academic
requirements, but rather I am hoping to show that the practice is already at the academic level, that
choreography is under-estimated and that academia is not aware of all of its blind-spots. Academic
models have their limitations. By highlighting the ways in which choreography has overlap with
academic practices, I am not attempting to push choreography into the mold of academic
requirements, but rather I am hoping to show that the practice is already at the academic level, that
choreography is under-estimated and that academia is not aware of all of its blind-spots. Academic
models have their limitations.
Inter-affecting. things are inter-affecting one another, all things. I seek to trace a model of being of
one another undoing divisions and blurring lines. I am seeking to paint a multi-dimensional picture of
choreography as a process of 'reorganizing' the world and communicating with audiences through a
reciprocal and oscillatory process of analysis and intuition. By assembling an eclectic mix of
practitioners and critics to investigate how they engage with and talk about choreography and
practice research or practice based research.

The core: my choreographic process. I want this dissertation to reflect my artistic choreographic
process, in part to allow the reader to go through this process, engaging in the reading in more ways
than one. Also, to re-trace the applicability of my choreographic practice to reading and writing. I
want to lead the reader through a landscape of experiences, exercises, analyses, prompts,
arguments, and suggested thought experiments. In a good performance the viewer although often
tethered to their chair, will travel far in their mind. Many small components of an performance event
will move their mind in an eloquently choreographed fashion to ignite creative pathways of
experiencing, thinking, analyzing and associating. Everything is a work in progress, ever evolving,
uncertain, and transient. The meaning although as clear to me as I can possibly make it, is up to the
individual reader and their conscious or unconscious contribution. I hope that I can incite
conversation through this reading, and, by expanding the notion of reading, also expand the notion
of choreographing.
Conversation. I am seeking conversations between choreography, philosophy, psychology,

indigenous thought and practice, sociology, linguistics, and design in order to approximate to a more
realistically complex experience of the phenomenon of articulating and the role of movement in that.
Rebalancing. By interviewing and bringing in artist-scholars from diverse points of view, I seek to
map some areas of the landscape of choreography and communication. My focus lies on
choreography and how it amplifies what we process in daily life and how this amplification in turn
alters what and how we act and experience life. It is my wish to bring choreography to the fore and
show the sophistication that goes into this practice.
DISSERTATION CHAPTERS in the process of restructuring

Note: This current list of chapters is still somewhat out of order, incomplete, and contains chapters
that will be edited out or combined. Some chapter names have not been updated, but are listed here
in this fashion because that's what they are saved as on my computer.
(list of chapters from student progress report)

(list of chapters from laptop folder)
1. DEDICATION & THANK YOU

2. ABSTRACT
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3. FOREWORD
4. WE CAN NOT NOT EXPRESS – THEORIES OF MEANING
5. PHASE ONE
◦ “Introspection in improvisation: Can/How do improvisation and states of not-knowing
lay the foundation for specific narrative content?”, created in relationship to the
practice research project: Film “Reflectionssnoitcelfer”, released 12/21/22
6. EMERGENCE
7. EMOTIONS
1. Emotions are essential to logic, to cognition
2. Emotions are essential to articulation/expression
3. Gestures are outlets for emotions
8. EXERCISES
1. It is important to experience and move while reading this dissertation, as information is
conveyed in this manner that otherwise will be lost
2. Somatically/experientially/phenomenologically tracing my oscillatory and iterative
process
9. PROCESS
10. ARTICULATION THEORY
1. What is articulating?
2. We always articulate
3. We need to articulate
11. RHYTHM
12. TOOLS
13. CONTEXT
1. SEXUALITY, RELIGION, CONTEXT
2. CHOREIA ( relates to space,projection, empathy, and context within which dance takes
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place/scenic design/site specificity)

3. “Space and non-human actors as collaborative dance partners in meaning making -
receiving/imposing meaning through the eye of the camera”, created in relationship to
the practice research project: Filmshoot, “20 minutes for the Sun to Set” - Topic: ,
released 3/22/23.
4. “Spontaneity in response to environmental stimuli, non-narrative concepts, and
collaborative cross-disciplinary improvisation”, created in relationship to the practice
research project: Performance "Solstice Cycles" on 9/22/22, Wilmington, NC, Topic:
14. PAR 2023 – Considerations for Practice Research
1. current state and philosophies/approaches
2. how my approach differs
15. THEORY OF ART
1. overlap with image analysis and text analysis
2.
16. LANGUAGE AND COMMUNICATION
1.
17. SOCIAL CRITIQUE
1. Choreography as critical practice
2. meaning-making to upset the status quo
3. Choreography is a response to, part of, and embedded into western european cultural
practice and heritage. It can only exist in its current/particular manifestation in this
particular context. It does not necessarily translate to other cultures, other choreographic
practices.
18. ANALYSIS & TRANSLATION
1. Choreography is an act of translation
2. Choreography is an act of channeling some “thing” from some “where”
19. GESTURE
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1. gesture is intrinsic to language

2. Gesture is the foundation for dance
3. Gesture is part of communication
4. paralinguistic
5. iconic
6. metaphoric
7. deictic
8. pragmatic, offering someone the floor
9. beat/rhythm along the natural stress patterns of speech
10. emblems: has meaning outside the context of speech, thumbs up, the form of gesture is
tied to the established meaning,
20. TRACING GESTURE
1. How gesture is traced, enacted, embodied, generated... where gesture “lives”
2.
21. TRACING GESTURE PROJECT ANALYSIS
1. TRACING GESTURE with Lena
1. Findings from gesture studies
2. THE RIVER HOME 2023, created in relationship to the practice research project:
Performance performance at Cameron Art Museum, 4/22/23
1. Findings about translation, when it happens, how it happens
2. When speaking occurs/pre-speaking states
3. “Discovering meaning in community improvisational performance around a specific
topic”
3. VITA5 with Lena
1. MOMENT BY MOMENT
4. HYDRA with Breanne
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1. Findings from movement studies

5. DRUM CIRCLES (likely to be cut, too tangential to this specific process)
1. findings about searching for meaning in drum circles
2. specific meaning requires focus
3. inherent meaning lies in community and connection
6. NC Residency
1. findings from discussions
2. audience observations
3. participant processes and feedback/philosophy
7. THE LITTLE PRINCE, with the Moving Poets Theatre of Dance, Charlotte NC, 10/27-30/22
1. “Processing common logistical restrictions and creating meaning under time
pressure",
22.
23.
24.
25.
26.
27. AUTHENTIC MOVEMENT
◦ short introduction to AM, history, approaches, philosophies, psychology
◦ Verbalizing experience and observation of personal movement meditation”,
◦ “AUTHENTIC MOVEMENT LOGBOOK: examples”
28. INTUITION
1. “Enmeshment of intuition and analysis: looking at Henri Bergson and Pina Bausch's
definitions of knowing”, created in relationship to the practice research project: UCD
Performance Studies Symposium presentation 4/29/2023 Topic:
29. LISTENING
1. "Tracing Gesture - knowledge acquisition beyond listening",
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◦ created in relationship to the practice research project: UCD Performance Studies

Symposium presentation 4/22/22 Chapter headline:
30. TRANSLATING
31. test
32. test
33. CONCLUSION
34. BIBLIOGRAPHY
CASE STUDIES
Survey: I will investigate various case studies and academic texts for definitions of “Meaning,
Meaning-making, Meaning-finding” and related terms and concepts that will further illuminate my
understanding of the term 'meaning'. What is 'meaning' and what is it not? What definitions can
exists simultaneously and which mutually exclude one another?
Define: I will re-define meaning as one of several conclusions to my dissertation. Generally speaking,
I hypothesize 'meaning' as a personal as well as collectively created phenomenon that is inherent and
intrinsic to creativity and the experience and expression of life.
Situating: I am situating meaning within a dynamic exchange between movement practice,
philosophy of embodiment, and performance studies. I am beginning my research by looking at
multiple areas that lend themselves to illustrate meaning and I am hoping to discover a few
unexpected areas that shed deeper, new, insight on approaches to defining it. Meaning is also a
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means, and a meeting place, a changeable process. I am interested in how cultural practices change
or discourage meaning-making and how these mechanisms parallel other injustices or biases in other
areas of life. Processes of choreographic (and other) meaning-making are put into conversation with
philosophies of embodiment, psychology, art theory, film theory, linguistics, gesture studies, gender
studies, Performance Studies, Intuition, etc... These are starting points and I hope to discover new
insights and inter-connections that open up narrow, habitual patterns of thinking and move-thinking.
Choreography and meaning making is explored with the context of context, cultural and socio-
political paradigms, and my standpoint is taken from the Euro-centric practice of Tanztheater, with
an attempt at inquiring into other practices of knowing as opportunities arise and discussions around
meaning demand opening up of the focal lens.
My research in effortlessness movement practice and my QE topic of dis-articulation and violence in

concert dance training will resurface in this dissertation, as these mark cultural practices and
interpretation/communication methodologies that shape embodied expression.
Case study#1: my own choreographic work serves as the fertilizer for my hypothesis and curiosity
into this inquiry. I work with meaning in my choreographic process and it leads me to draw certain
conclusions about meaning-making. Other case studies will be compared to my approach and to one
another. Included in this research section are interviews with my dancers and ongoing choreographic
experiments and performances.
Case study#2: Pina Bausch.
Case study#3: Crystal Pite.
Case study#4: Ina Christel Johannesen.
Marie Chouinard
Josef Nadj
Katja Heitmann
Case study#5: Robert Wilson?
Main areas: PEDAGOGY, PAR, CHOREOGRAPHY/PRACTICE
 Pedagogy of meaning. A pedagogy of meaning includes what matters to people and is flexible in that
regard and also allows for varied and inclusive methodologies of inquiry.
 Case 3: Somatics
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 Generally speaking, somatic work aims at healing the body through awareness and
body centered approaches. Any movement results in an
emotional/psychological/somatic change and vice versa. Highlighting the connections
between movement and emotional states will help further define the processes of
move-thinking. Modalities like Authentic Movement and Dance Therapy, Art Therapy,
etc engage with the idea that creative engagement channels and helps find access to
the inner, non-verbal, emotional, psychological realities/situations. Does meaning and
working through meaning, and also the letting go of meaning heal? Is this healing
potential of movement built into the physical body?
 My Work: Body’s Intrinsic Intelligence
 My work is the result of all these influences and seeks to bring them together under
the premise that life and all of life's participants are intelligent, independently active,
and connected into one living being. Some of my work investigates the combination of
simultaneous movement and manual therapy ("Dynamic Bodywork") which
profoundly challenges our ideas of effort and effortlessness, meaning-making and
meaning-discovery, tension and relaxation.
 Case 1: Pina Bausch

 Pina Bausch's revolutionary iconic social critical Tanztheater explores a personal
poltics.
 Her work stands for change from within.
 Case 2: Eiko & Koma
 Eiko & Koma represent a completely different genre of dance, Butoh. It's aesthetics
and methodologies are profoundly distinguishable from western concert dance. In its
interest in the human soul, Butoh embodies the inner turmoil of the individual and the
perceived separation between 'body and mind'. It was developed in response to the
atrocities of WWII. Meaning and engagement and research are inscribed into the very
nature of this practice. It prioritizes meaning over form, form follows meaning.
 Case 4: Robert Wilson

 Robert Wilson is another theatre icon that has shaped storytelling through non-verbal
art. I have had the opportunity to work with him and find that at the core of his work
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lies an ambiguity between effort and effortlessness. His work 'T.S.E.-Come in Under
The Shadow of this Red Rock' is a struggle in silence. I probably feel this way also
because we, as dancers, struggled in a concentrated rehearsal silence with cold, cramp
inducing, deep sand that was the playground for his artistic landscapes. However, in
this work, an effortlessness is achieved through extreme minimalism which on the
other hand expresses tremendous suffering; the effort to achieve effortlessness, an
inner struggle, a silent scream. Wilson works in extremely conceptual ways, meaning
driving his work. I examine to what degrees intuition is part of his process.
 My Work: Choreographing Emergence
 My work is marked by a specificity that is responsible for the signification of all
elements that are part of my productions. Similar to Bausch, I think of everything:
dance, scenery, lighting, sound, costume, audience position and involvement, etc as a
language that can be "read and spoken". It has been my experience that choreography
is an interplay of discovery and emergence. My actual process of making pieces,
although accompanied by much effort while trying to make a living as an artist and
pursuing a career as such, has always felt entirely effortless. Many of the moments of
this creative act feel like entering states of particular intuition that allow for thinking of
a different, effortless, nature. I wonder how effortlessness in movement practice is
related to effortlessness in intuition and improvisation in choreography. How is
effortlessness connected to knowing, and more specifically to knowing that some
something is part of a piece or not. Does effortlessness translate into confidence?
 Other ways of dancing

 In order to gain a more complete picture of how meaning relates to the human body in
motion, it is important to identify a multitude of motivations for dancing, and how
they relate to motivation, intent and meaning, and how these are thought to influence
our lives and the world.
 Kinship and Tensegrity
 Notions of tensegrity and shared experience return once again in relationalities
of meaning in regards to bio-tensegrities that reach beyond the skin. I am
interested in examining potential correlations between notions of intuition
(often I refer to intuition as effortlessness), connectedness, inter-relatedness,
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and kinship models of indigenous ways of being, among others, tbd. How are
body and ways of being related in these paradigms?
 Body's Intrinsic Intelligence amplified
 I hope to be able to amplify the minute nuances of meaning and intuition

through my work to raise awareness and refine sensibility and response-ability.
I am drawing a map of the body.
LITERATURE REVIEW (Situating)

FIELDS: philosophy, linguistics, choreography, practice research/performance studies, film theory,
philosophy of embodiment, somatics, and critical theory
The fields with which I am engaging include philosophy, linguistics, choreography, practice
research/performance studies, movement research, Dance, Theatre studies, dance studies,
Psychotherapy, poetry, indiggenous philosophy, sociology, anthropology, science and technology
studies, design, media theory, psychology/psychiatry, Philosophy of embodiment, Somatic practices,
Movement therapy, education, communication, manual therapy, trauma therapy, film theory and
critical theory.
Mainly this work seeks to contribute to discussions and research in the areas of PAR: Practice
Research/Performance Studies, Education, and Performing Arts.
Situating in Performance studies/Practice Research :I seek to bring my specific experience and approach to the
discussion around the place and weight that practice has for academic applications and goals. How have we not
looked at PAR yet? What are the blind-spots in current theories and applications? I seek to show that we are
overlooking the crucially obvious.
Authors I am thinking with in this category: With Karen Barad, Ann Friedberg and Alexander Galloway I theorize
the potential for connectivity and touch. Gabriele Brandstetter provides thoughts on expression in art and
specifically the psychology and history of Tanztheater, which is helpful for looking at Pina Bausch's work and
the social critical and historical aspects of Tanztheater.
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Situating in Education: Education is the common denominator underlying all of these efforts, research, practice,
etc. All art and research is eventually there to inform people and enrich lives in some way. Education is crucial as it
lays the foundation for how we see things, how and what we fund, and it will affect the well-roundedness of our
understanding of life and our relationships to all life on earth. Education holds the key. Practice research is
instrumental in educational applications due to its mediator position between the so called opposing fields of
practice and research.
Authors I am thinking with in this category: A number of authors speak to the violence that has been and is
being done to the body and for a need for decolonization of the body: Alyson Buckman, Sarah Ahmed, Kim
Tallbear, Shiv Visvanathan, Chella Sandoval, Christine Caldwell, Susan Leigh Foster. Michel Foucault in particular
offers insight into methodologies of oppression. Paulo Freire and Dewey help us find new viewpoints onto
education.
With Bernard Stiegler and Ann Friedberg I am conceptualize the digital age and effort(lessness) as human-
machine amalgamations. Their works look at tensegral connections between the human and the electronic or
virtual.Paulo Freire is certainly the most important author in this category, but also Marshall Rosenberg and
Gabor Mate speak to pedagogy. Peter Cole giving indigenous viewpoints on the conversation. In order to fully
grasp the role of education in finding effortlessness I am investigating a broad range of literature around violence
in movement practices (ballet for example) and how they specifically relate to illusions of effortlessness. Ann
Daly, A. Aalten, Jill Green, C.Novack, and others speak to concert dance training and the foundation for them
being a constant struggle against the body and an undoing of the body and reassembling of the body into an
unachievable ideal. Violent practices are investigated for their social, political, and personal backgrounds and
how they shape and reflect on one another. How is education when it is effortless-based, how is it when it is
effort-based? With Alice Miller I am adding a look at violence in child rearing and violent family dynamics.
Situating in the Performing Arts: Academic inquiry is often underestimated or looked down upon as a
disembodied, outsider attitude that inherently misses what the performing arts are about, are achieving, are
doing for people. Research is valuable to practice in both ways.
Authors I am thinking with in this category: With Csordas, Merleau-Ponty, Bergson, and Ahmed I am thinking
about processes of perception and interpretation. Louis Montrose investigates Shakespeare's work 'A
Midsummer Nights Dream' in regards to matters of authority and autonomy, gender. Bausch, Montrose,
Marilyn Strathern, Marilyn Frye, Sarah Ahmed, Silvia Federici, Judith Butler as well as my work looks at gender
and gender in the political/economic context, which has to be considered when thinking about the added effort
that performing or fighting gender requires.
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Situated in embodied practice/movement research
◦ Ideas around increasing empathy through dance/choreography are explored with Susan Leigh
Foster.
◦ Alex Feng, Lynette Hunter, Alex Boyd, Joel Kruger, Alex Feng, and Laotze provide Daoist
viewpoints onto movement practice. Reesma Menakem offers a body based way of working with
trauma. With Bessel Van der Kolk I am looking at the physiology of trauma and how the body
expresses and remembers emotion and experiences. Trauma causing effortful mechanisms.
Menakem and Jules Orcullo particularly bring in racial and colonial trauma, which can not be
ignored when speaking of and working with bodies.
Thinking with pedagogy of movement
 The relevance of a practical application of effortlessness in movement in education is considered

through authors/practitioners such as Frey Faust, Kira Kirsch, Kevin O'Connor, and numerous others.
These authors/practitioners challenge existing teacher-student relationships and offer
methodologies for agency. I will be looking at scientific data regarding the connections between
muscle gain and increased cognitive ability, especially in early life. Alfie Kohn speaks about the
reward and punishment system in education, which resonates with Marshall Rosenberg and Michel
Foucault. These highlight the violence in seemingly positive methodologies of education.
 Embodied ways of thinking. With Derek Melzer , Evan Thompson, others and my own work in 'The
Body's Intrinsic Intelligence' I am looking for arguments that thinking does not only take place in
the brain.
Thinking with philosophy of embodiment
 Art is illuminated as philosophical inquiry. I experience it this way and author Alva Noë (**) speaks
of art and philosophy being of the same genus of "re-organizational practices" both seeking to 'bring
the world into focus". Effortlessness practice is definitely a re-organizational practice. It questions
everything and reassesses more appropriate pathways. With Jacques Lacan I am thinking about how
we gaze, how we see, and how we draw conclusions. I am wondering about what the gaze of
effortlessness might be characterized by. Laotze speaks to this. With S. Manning I am looking at the
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differences between German and US Tanztheater and if and how effortlessness shows up
differently in the translations of movement into emotion and vice versa.
 Indigenous and eastern philosophies have templates for effortlessness practice in Daoism, Wu Wei
being the most central philosophy of effortlessness, but also Buddhism and Jainism have elaborate
systems of inter-relationality. Edward Slingerland is providing historical information about eastern
philosophies, wu wei in particular. Alan Watts translates Daoist concepts into language that is more
accessible for western minds. All of the authors in this category are speaking to how embodied
practice is linked to emotional wellbeing and spirituality. The Daodejing by Laotse is a guiding text
that offers many aspects of effortlessness. Deborah Hay posits that the body is a Buddhist, seeking
the end of suffering and experiencing effortlessness of being with whatever is. With Joel Kruger
and Alex Feng, both of whom are situated in Daoist practice, I am contemplating knowing through
the body/wisdom from within.
 Geoffrey Beattie offers a scientific viewpoint on gesture which I am cross-referencing with ideas
around effortlessness, emergence and immediacy in expression. Brecht also talks about gesture,
which I intend to compare to Beattie and Bausch.
 With Pina Bausch I contemplate dance as a language and the choreographic process and how it
crosses paths with effortlessness. Noam Chomsky, Peter Brooke help me understand language.
 With Ann Cooper Albright, Steve Paxton, Alan Kindler, Itay Yatuv, and others I am looking into the role
that effortlessness plays in improvisation and vice versa. Yatuv works specifically with children
and I am interested in the role of improvisation in developing our abilities to find effortlessness if
kinaesthetic improvisation is a part of early life.
 Pirrko Husemann helps me investigate how choreographers Xavier LeRoy and Thomas Lehmen
engage in critical inquiry through their art and art making. Mostly this book serves to help me
conceptualize how meaning is often eradicated in post-modern dance contexts and how there has
been a turn away from methodologies that engage with meaning. Perhaps starting with merce
Cunningham, meaning has become un-modern, un-intelligent, or even small-town-ish. The book
helps define what meaning within the context of this dissertation is not, while being helpful with
defining how meaning is made within the greater socio-political methodological framework of
theatrical structuring, what I will refer to as 'context', as opposed to analyzing the micro-cosm of the
bodily movements of the dancers.
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 I might briefly visit meaningmaking within the context of spirituality., engaging with popular authors
and spiritual leaders such as , Sadhguru, Eckhart Tolle, Alan Watts, Carlos Castaneda, and others.
Some native indigenous philosophies, the Eagle Condor Council/Jeffrey Schmidt, and others provide
models of tensegrity of magic and Shamanic proportions, the enmeshment of the human into
the meaning of the cosmos. Robin Wall Kimmerer, Kim Tallbear, Vanessa Watts, Monica Gagliano,
Michael Pollan, Eduardo Kohn, Louis Renee Pualani, and Alexander Hick open viewpoints on realms
of magical or inter-species connections and relationalities of 'impossibility' as far as western
ways of thinking are concerned, also about ways of thinking and knowing. This opens the realms of
meaning far beynd the currently explored in western modern society, but does play a potentially
crucial role when attempting to grasp the concept of meaning within the breadth of human
experience. Pollan, Gagliano and Mate offer insights into plant-human interactions and plant
derived visions and states of mind. Stanislav Grof and Felix Guattari give psychoanalytical points
of view and provide bridges to the "academically unacceptable", which I think needs to be allowed
to play a significant role in considering what choreography brings to academia, how, and why.
PLAN OF RESEARCH
TIMELINE 2023-2024
My plan is to have the dissertation exam on May 15th, 2024. I anticipate having one chapter
completed by the end of the summer, as part of a summer fellowship project. I am hoping to provide
a first draft of the dissertation to the dissertation committee by February 15 th, 2024. I anticipate
having to make changes to the dissertation and I hope to be able to finish the dissertation by the end
of the fellowship period, around October 1st and subsequently graduate at the end of the fall quarter
2024.
There is no particular temporal order to the below modes of research. It is important to me that they
take place more or less simultaneously so that practice and research may mutually inform one
another. Since my research might require international travel there are costs involved with that. I
received a travel grant as well which will help pay for some of the travel costs, making the below plan
achievable.
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FINANCIAL LOGISTICS
I am the recipient of the 2023-2024 Bilinski Dissertation year Fellowship. I feel that I am able to
complete my dissertation within the given fellowship period and without needing to work another
job outside of my dissertation writing.
Dissertation research and writing expenses include:
 conference participation fees
 writing and research materials, office supplies
 research materials (books, magazines, and others, insofar as they can not be obtained
from libraries)
 workshop tuition
 compensating people for their time (dancers, interlocutors, etc)
 travel expenses (mine and collaborators')
 studio space rental.
RESEARCH ACTIVITIES
 Reading, Library Research, Writing
◦ NC, USA/Germany - travel, lodging
 Presentations at Conferences
◦ Artist & research residency at Nomadic College at Earthdance, Massachussetts, October

2023: “Tracing Gesture” project with artists and community members, working towards
the completion of the dissertation chapter “Tracing Gesture”
 Conference Participation & Attendance
◦ Movement Artisans Festival/Conference: November 13-19 Berlin Eden Studios, presenting

my work to participants and local audiences
◦ CATR Canada Association for Theatre Research, conference, online registered: June 10-12,
2023, successfully attended, made connections to join a working group on “somatic
engagement”
◦ PSI International conference/online: registered, attending
◦ ASTR American Society for Theatre Research Conference: Rhode Island: not registered
yet, November 9-12, 2023, hoping to attend in person
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◦ and others, tbd. Topics of interest include: theatre and dance studies, philosophy of
embodiment, performance studies, indigenous knowing, joint research /medicine , dance
therapy, embodied philosophies, linguistic and gesture studies, choreographer meetings,
etc - internationally - travel, lodging
 Attending Performances by other artists
◦ details tbd. USA, Germany, internationally, as feasible. - travel, lodging, ticket fees, will be
organized to coincide with conference attendance, o.a. to save costs
 Interviews with Practitioners and Critics
◦ USA, Germany, internationally - travel, lodging, will be organized to coincide with

conference attendance, o.a. to save costs. Most interveiws take place via email exchange,
zoom, or phone conversation.
 "TRACING GESTURE": Creative Research and Performances
◦ The “Tracing Gesture” project consists of
▪ research
▪ conversations/interviews
▪ choreographic experiments and experimental dance films
▪ sharing research process and findings with audiences of different kinds
 peers, colleagues, general public, conference attendees, etc
▪ discussions and creative work with two of my dancers Lena Rose Webb-Magee
(Sacramento, CA) and Breanne Horne (Gastonia, NC). Some travel is potentially
needed. Both of them have danced the piece that I discussed in my PAR Portfolio for
the QE and that will be one of the case studies in my dissertation.
▪ Discussions and creative work with musician and film-maker Carl Kruger/Slow Ear
Ensemble, Wilmington/NC
▪ an artist & research residency with colleagues at Nomadic College, October 1-14, 2023.
Culminating in a verbal presentation and a performance.
◦ Results of the “TRACING GESTURE” project in the summer 2023 are
▪ a chapter in my dissertation entitled “Tracing Gesture”
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▪ Contributions to other chapters
▪ Draft for a paper for submission at conferences in 2024/25
▪ Preparation for the presentation of “Tracing Gesture” and my research in general at

the Nomadic College 2023, October 1-14, 2023 at Earthdance, MA.
▪ one or two informal showings ( lab style) to live audiences between now and
September 2024, to get feedback and discuss their experience of meaning-making.
Dates and location tbd.
◦ Funding considerations for this practice research project:
▪ In addition to locations on the UCD Campus, I have organizational partners that

support the project through in-kind donation of rehearsal and performance space.
These include:
 Cameron Art Museum/NC, Ponderosa Dance/Germany, Lake Studios (details tbd),

UNC Wilmington/NC, Turning The Wheel Wilmington/NC, a.o.
 All expenses should be covered and fall within the Bilinski fellowship budget.
BIBLIOGRAPHY
blue highlights mean that this reference is entered into zotero
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B
 Bainbridge Cohen, Bonnie "Sensing, Feeling and Action: The Experiential Anatomy of Body-
Mind Centering", https://www.amazon.com/Sensing-Feeling-Action-Experiential-Body-
Mind/dp/0937645036
 Bernard, Andre & Steinmueller, Wolfgang, Ideokinesis: A creative approach to human
movement and Body Alignment"
 Buckman, Alyson R; The Body as a Site of Colonization: Alice Walker's Possessing the Secret of
Joy" publishes in Journal of American Culture, Volume18, Issue2, Summer 1995, Pages 89-
94 ,First published: Summer 1995, https://doi.org/10.1111/j.1542-734X.1995.00089.x
Citations: 1 have not been able to find the entire article, problems accesssing/logging in.
 Bausch, Pina, Rite of Spring excerpt of red dress solo: https://www.youtube.com/watch?
v=0VqaGkKQRCU, https://www.youtube.com/watch?v=f04Tk1pqQok&feature=youtu.be
 Bausch, Pina https://www.youtube.com/watch?v=s7pV2cX0qxs&has_verified=1 (sacrificial
dance)
 Bausch, Pina, http://www.pina-bausch.de/en/communicating-dance/searching-finding/

 Bausch, Pina, Rite of Spring excerpt of red dress solo: https://www.youtube.com/watch?
 v=0VqaGkKQRCU, https://www.youtube.com/watch?v=f04Tk1pqQok&feature=youtu.be
 Bausch, Pina,https://www.youtube.com/watch?v=s7pV2cX0qxs&has_verified=1 (sacrificial

dance)
 Bausch, Pina,http://www.pina-bausch.de/en/communicating-dance/searching-finding/
 Beattie, Geoffrey https://www.youtube.com/watch?v=2nyxuiua-JM
 Bel, Jerome,the last performance, talk on youtube: https://www.youtube.com/watch?
v=bFFjxEJrhFU
 Bergson, Henri (see website Bergson page for more links to books and videos)
 Bourdieu,“Theory of Habitus” https://www.youtube.com/watch?v=WvzahvBpd_A, intro video
 Bibeau, Gilles, review/opinion on Michael Tossig/Mimsesis and

Alterity: https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1525/ae.1995.22.3.02a0022
0, by Gilles Bibeau, in "Anthro Source Journal", I have the pdf
 Brandstetter, Gabriele Das Tanztheater Pina Bausch: Spiegel der Gesellschaft (Deutsch)
Taschenbuch – 1. März 2008 (“Pina Bausch – Mirror of Society”)
von Rika Schulze-Reuber (Autor), https://www.amazon.de/Das-Tanztheater-Pina-Bausch-
Gesellschaft/dp/3830111479/ref=sr_1_5?__mk_de_DE=%C3%85M%C3%85%C5%BD
%C3%95%C3%91&dchild=1&keywords=brandstetter+tanztheater&qid=1589954622&s=book
s&sr=1-5
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 Brandstetter, gabriele, "Bild-Sprung. TanzTheaterBewegung im Wechsel der Medien. Berlin:

Theater der Zeit",
 Brandstetter, Gabriele, "Improvisieren. Paradowien des Unvorhersehbaren. Kunst-Medien-
Praxis",
 Brandstetter, Gabriele; Moving (Across) Borders: Performing Translation, Intervention,
Participation (TanzScripte) (Englisch) Taschenbuch – 15. Februar 2017:
 Brandstetter, Gabriele, und Hoffmann, Frank, Notationen und choreographisches
Denken (Scenae) (“Notation and Choreographic Thinking”) (Deutsch) Taschenbuch – 1. Januar
2009von Gabriele Brandstetter (Herausgeber), Franck Hofmann (Herausgeber), & 1 mehr
 Brandstetter, Gabriele, „Psychologie des Ausdrucks und Ausdruckstanz. Aspekte der
Wechselwirkung am Beispiel der ‚Traumtänzerin Magdeleine G.‘“, in: Ausdruckstanz. Eine
mitteleuropäische Bewegung der ersten Hälfte des 20. Jahrhunderts, hrsg. v. Gunhild
Oberzaucher-Schüller, unter Mitarbeit von Alfred Oberzaucher und Thomas Steiert,
Wilhelmshaven: Noetzel/Heinrichshofen-Bücher 1992 (= Internationales Symposion
Ausdruckstanz, Thurnau 1986), S. 199-211 (“Psychology of Expression and Expressionist
Dance”)
 Brecht, Berthold,“essay on the gesture”
 ueber Brecht: http://teachsam.de/deutsch/d_rhetorik/rede/rede_6.htm
 Ueber Brecht von Jan Knopf: Brecht, Bertolt: Dramen und Teatertheorie – Die Parabel als
Experiment von Jan Knopf (1996): Brecht hat mehrere seiner Parabeln ausdrücklich als Experiment
gekennzeichnet (durch Prologe bzw. Vorspiele: vgl. Der gute Mensch von Sezuan, Der aufhaltsame Aufstieg des
Arturo Ui). Die Analogie zum naturwissenschaftlichen Experiment stellt sich folgendermaßen her: aus dem
gesellschaftlichen Zusammenleben der Menschen werden bestimmte Vorgänge, Prozesse herausgehoben und
»isoliert« (das heißt: künstlerischen Gesetzen unterworfen: abgekürzt, konzentriert, »vereinfacht«); Ziel ist es -
wie im naturwissenschaftlichen Experiment - das Funktionieren dieser Vorgänge und damit bestimmte
Funktionsprozesse der Gesellschaft, die nicht unmittelbar zu sehen sind, sichtbar zu machen. Das »Subjektive“
liegt im »Wie« des »Versuchs-Aufbaus“ und vor allem auch in der künstlerischen Qualität des Sichtbar-
Gemachten, den Bildern, den dramatischen oder sonstigen Bildern, die geschaffen werden für etwas, was
unmittelbar nicht zu sehen ist; der objektive Gewinn ist, dass die subjektiven Bilder der Kunst auf objektive
Prozesse verweisen (Demonstrationscharakter) und Erkenntnis sowie Bewusstsein davon fördern helfen. Wie
z.B. das Atommodell von Ernest Rutherford nicht beansprucht, das Atom, wie es »wirklich« ist, abzubilden, so
stellt auch der »Versuch« Brechts ein Bild von etwas her, das »normal« nicht zu sehen ist oder prinzipiell
unsichtbar ist; seine »Richtigkeit« erhält das Modell einzig dadurch, dass es sich im Gebrauch bewährt.[…]
Das Problem des »Realismus« ist damit auf eine ganz andere Ebene als die der »Widerspiegelung« verschoben:
realistisch ist nicht, was möglichst so aussieht, wie man die Dinge normal vorfindet (»gesunder
Menschenverstand« etc.), das ist vielmehr Naturalismus; an realistische Darstellungen werden drei Forderungen
gestellt: 1. die »Abbildung« muss das Abgebildete in seinen normalen Aussehen erkennen lassen (aufgehobener
Naturalismus), 2. sie muss das Funktionieren des Abgebildeten demonstrieren (Verfremdung), 3. sie muss
künstlerische - dem Abgebildeten adäquate - Bilder für das Funktionieren finden (Sichtbarmachen des
Unsichtbaren); alle drei Forderungen verbürgen zusammen, dass ästhetischer Genuss (Gefühl) und intellektuelle
Einsicht (Ratio) sich gemeinsam einzustellen vermögen. (aus: Knopf 1996, S.407f.)
 Zitate von Brecht: Kleines Organon fuer das Theater, von Bertolt brecht:
https://www.amazon.com/Kleines-Organon-Fur-Das-
Theater/dp/B00BCTRRU4#detailBullets_feature_div
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http://teachsam.de/deutsch/d_literatur/d_aut/bre/bre_sonst/bre_theatheo/bre_theatheo_txt
_2.htm: Text 1:
Den Bereich der Haltungen, welche die Figuren zueinander einnehmen, nenn wir den
gestischen Bereich. Körperhaltung, Tonfall und Gesichtsausdruck sind von einem
gesellschaftlichen Gestus bestimmt: die Figuren beschimpfen, komplimentieren, belehren
einander usw. Zu den Haltungen, eingenommen von Menschen zu Menschen, gehören selbst
die anscheinend ganz privaten, wie die Äußerungen des körperlichen Schmerzes in der
Krankheit oder die religiösen. Diese gestischen Äußerungen sind meist recht kompliziert und
widerspruchsvoll, so dass sie sich mit einem einzigen Wort nicht wiedergeben lassen [...]
(Kleines Organon für das Theater, 61)
Text 2:
"Wir sprechen ferner von einem Gestus. Darunter verstehen wir einen ganzen Komplex einzelner Gesten der
verschiedensten Art zusammen mit Äußerungen, welcher einem absonderen Vorgang unter Menschen zugrunde
liegt und die Gesamthaltung aller an diesem Vorgang Beteiligten betrifft (Verurteilung eines Menschen durch
einen anderen Menschen, eine Beratung, einen Kampf und so weiter) oder einen Komplex von Gesten und
Äußerungen, welcher, bei einem einzelnen Menschen auftretend, gewisse Vorgänge auslöst… Ein Gestus
bezeichnet die Beziehungen von Menschen zueinander." (Gestik, in: Brecht, Über den Beruf des Schauspielers,
Frankfurt/M. 1970, S.92)
Text 3:
"Gestisch ist eine Sprache, wenn sie auf dem Gestus beruht, bestimmte Haltungen des Menschen anzeigt, die
dieser anderen Menschen gegenüber einnimmt […].
Nicht jeder Gestus ist ein gesellschaftlicher Gestus. Die Abwehrhaltung gegen eine Fliege ist zunächst kein
gesellschaftlicher Gestus, die Abwehrhaltung gegen einen Hund kann einer sein, wenn zum Beispiel durch ihn
der Kampf, den ein schlecht gekleideter Mensch zu führen hat, zum Ausdruck kommt. […]
Der gesellschaftliche Gestus ist der für die Gesellschaft relevante Gestus, der Gestus, der auf die
gesellschaftlichen Zustände Schlüsse zulässt." ( Brecht, Kleines Organon für das Theater, 61)
Text 4:
"Über die gestische Sprache in der Literatur Me-ti sagte: Der Dichter Kin-je darf sich für sich das Verdienst in
Anspruch nehmen, die Sprache der Literatur erneuert zu haben. Er fand zwei Sprachweisen vor: Eine stilisierte,
welche gespreizt und geschrieben klang und nirgends im Volk, bei der Erledigung der Geschäfte oder bei
anderen Gelegenheiten gesprochen wurde, und eine überall gesprochene, welche eine bloße Imitation des
alltäglichen Sprechens und Redens und nicht stilisiert war. Er wandte eine Sprachweise an, die zugleich stilisiert
und natürlich war. Dies erreichte er, indem er auf die Haltungen achtete, die den Sätzen zugrunde liegen: Er
brachte nur Haltungen in Sätze und ließ durch die Sätze die Haltungen immer wieder durchscheinen. Eine
solche Sprache nannte er gestisch, weil sie nur Ausdruck für Gesten der Menschen war [...]. Der Dichter Kin
erkannte die Sprache als ein Werkzeug des Handelns und wusste, dass einer auch dann mit anderen spricht,
wenn er mit sich spricht." (Über die gestische Sprache in der Literatur. Me-ti. Buch der Wendungen, Bibliothek
Suhrkamp 228, 1969, S.46f.)


 Brentari, Diane: 3. Phonology
 D Brentari - Sign Language, 2012 - degruyter.com
 … Diane Brentari …
 Speichern Zitieren Zitiert von: 73 Ähnliche Artikel
2023 29 KAROLA
LÜTTRINGHAUS
[BUCH] A prosodic model of sign language phonology

 D Brentari - 1998 - books.google.com
 Superior to any other book on the subject that I have seen. I can see it being used as a class
text or reference for current theory in sign language phonology. This book is intended in part …
 Speichern Zitieren Zitiert von: 1225 Ähnliche Artikel Alle 3 Versionen
 [HTML]nih.gov
Gesture, sign, and language: The coming of age of sign language and gesture studies
 S Goldin-Meadow, D Brentari - Behavioral and brain sciences, 2017 - cambridge.org
 How does sign language compare with gesture, on the one hand, and spoken language on
the other? Sign was once viewed as nothing more than a system of pictorial gestures without …
 researchgate.net
[PDF]
Where did all the arguments go?: Argument-changing properties of classifiers in ASL
 E Benedicto, D Brentari - Natural Language & Linguistic Theory, 2004 - Springer
 This paper presents an analysis of American Sign Language (ASL) classifiers from a syntactic
and morphophonological point of view, and addresses issues related to (1) the ways that …
Native and foreign vocabulary in American Sign Language: A lexicon with multiple origins
 Brook, Peter, "Tip of the Tongue: Reflections on language and Meaning":
 Brook, Peter, "the empty space", a book about theatre: deadly, holy, rough, immediate
 Butler, Judith, video presentation "What is gender", https://www.youtube.com/watch?
v=cqc3uCold08
 Butler, Judith, “Gender trouble”
C
 Caldwell, Christine, and Leighton, Bennett, "Oppression and the Body - Roots, Resistance,
Resolutions", https://www.amazon.de/-/en/Christine-Caldwell-ebook/dp/B0738LQGCR,
 Carson, Quetzala, https://www.youtube.com/watch?v=IN17Os8JAr8&feature=youtu.be
youtube talk by Quetzala Carson
Pedagogy of the Decolonizing | Quetzala Carson | TEDxUAlberta
 Chomsky, Noam, various talks, lectures, interviews on youtube
 Marie Chouinard "Body Remix",
 https://www.youtube.com/watch?
time_continue=235&v=gcNTdm2ngwM&feature=emb_logo
 https://www.youtube.com/watch?v=L9dyx9H5eQY
 https://www.youtube.com/watch?v=AtKd5s0zmiw
 https://www.mariechouinard.com/english/works/body-remix-goldberg-variations/
2023 30 KAROLA
LÜTTRINGHAUS
 Cole, Peter , "Coyote and Raven go Canoeing" (education, world view, philosophy of
meaningembodiment)
 Condo, George, interview "How I think": https://www.youtube.com/watch?v=BhRdlVcQnjk
 Cooper Albright, Anne, "Taken By Surprise (Dwelling in Possibility) " by Ann Cooper Albright, a
Dance Improvisation Reader
 Coulson, Seana: Metaphor and the space structuring model
 S Coulson, T Matlock - Metaphor and symbol, 2001 - Taylor & Francis
 We propose an account of metaphor comprehension based on conceptual blending theory.

We review data from on-line processing measures that support predictions of conceptual …
Blending and metaphor

 J Grady, T Oakley, S Coulson - … IN THE THEORY AND HISTORY OF …, 1999 - torrossa.com
 The framework sometimes referred to as' conceptual metaphor theory', with its origins in
Lakoff & Johnson (1980), is one of the central areas of research in the more general field of …
 academia.edu
[PDF]
Meaningful gestures: Electrophysiological indices of iconic gesture comprehension
 YC Wu, S Coulson - Psychophysiology, 2005 - Wiley Online Library
 To assess semantic processing of iconic gestures, EEG (29 scalp sites) was recorded as
adults watched cartoon segments paired with soundless videos of congruous and incongruous …
 researchgate.net
[PDF]
Time course of word identification and semantic integration in spoken language.
 C Van Petten, S Coulson, S Rubin… - Journal of …, 1999 - psycnet.apa.org
 The minimum duration signal necessary to identify a set of spoken words was established
by the gating technique; most words could be identified before their acoustic offset. Gated …
 academia.edu
[PDF]
How iconic gestures enhance communication: An ERP study
 YC Wu, S Coulson - Brain and language, 2007 - Elsevier
 EEG was recorded as adults watched short segments of spontaneous discourse in which
the speaker’s gestures and utterances contained complementary information. Videos were …
 [PDF] researchgate.net
2023 31 KAROLA
LÜTTRINGHAUS
Blending and coded meaning: Literal and figurative meaning in cognitive semantics
 S Coulson, T Oakley - Journal of pragmatics, 2005 - Elsevier
 In this article, we examine the relationship between literal and figurative meanings in view
of mental spaces and conceptual blending theory as developed by Fauconnier and Turner […
 ug.edu.pl
[PDF]
[BUCH] Semantic leaps: Frame-shifting and conceptual blending in meaning construction
 S Coulson - 2001 - books.google.com
 Semantic Leaps explores how people combine knowledge from different domains in order to
understand and express new ideas. Concentrating on dynamic aspects of on-line meaning …
 [PDF]researchgate.net
Expect the unexpected: Event-related brain response to morphosyntactic violations
 S Coulson, JW King, M Kutas - Language and cognitive processes, 1998 - Taylor & Francis
 Arguments about the existence of language-specific neural systems and particularly arguments
about the independence of syntactic and semantic processing have recently focused on …
 ucsd.edu
[PDF]
Blending basics
 S Coulson, T Oakley - 2001 - degruyter.com
 This article serves as a primer for the theory of online meaning construction known alternately
as conceptual blending, conceptual integration, the many space model, and the network …
 [PDF]springer.com
Conceptual integration and metaphor: An event-related potential study
 S Coulson, C Van Petten - Memory & cognition, 2002 - Springer
 Event-related brain potentials (ERPs) were recorded from 18 normal adults as they read
sentences that ended with words used literally, metaphorically, or in an intermediateliteral …
 Csordas, Thomas J., Somatic Modes of Attention'

 Cunningham Dance Company (on technique) (absence of meaning?) book tbd
2023 32 KAROLA
LÜTTRINGHAUS
 https://www.youtube.com/watch?v=tTSHFI_wT5c
D
 Daly, Ann,"The Balanchine Woman, of hummingbirds and channel swimmers"

 Davidson, Richard J., https://www.youtube.com/watch?v=7CBfCW67xT8, "How mindfulness
changes the emotional life of our brains", |
 Deleuze, "Difference and Repetition"
 Deleuze, https://www.youtube.com/watch?v=AUQTYlCTfek&t=23s, video about Deleuze,
philosopher of difference, by THEN & NOW
 Deleuze: Francis Bacon, The Logic of Sensation, Chapters 1 and 2 of Deleuze “Difference and
Repetition”, chapter on phantasm, chapter on series of singularities
• Deleuze lectures videos
• Deleuze, 'cinema 1' and 'anti oedipus' and 'A thousand plateaus',
and 'what is philosophy' (last book he wrote with guattari)
 Gilles Deleuze, “expressionism in philosophy: Spinoza'
introduction, p. 13-22
 Gilles Deleuze, “expressionism in philosophy: Spinoza' (what can the body do?)
 Gilles Deleuze, “The Fold”
 Deleuze/Foucault, “intellectuals and power: a conversation between Michel Foucault and
Gilles DELEUZE',
 Derrida, Jacques, on slippage of meaning, book/chapter tbd
 Davidson, Arnold; Lewis, George and Davidson, Arnold 'improvisation as a way of life',
video, Arnold Davidson “Improvisation as Ethical Form”, video
E
 Eiko & Koma, performance of "river"
 Escobar, Arturo, "Designs for Pluriverse", (from Alvaro)
F
 Feldenkrais, Moshe,"Feldenkrais, Bewusstheit durch Bewegung", Suhrkamp Taschenbuch
 Faust, Frey, Axis Syllabus “the Axis Syllabus – Human Movement Analysis and Training
Method”, 3rd edition 2011
 Faust, Frey, interviews
 Faust, Frey, class observations

 Federici, Silvia, "Calaban and the Witch"
 Federici, Silvia, podcast interview, "last born in the wilderness, podcast, interview,
https://www.lastborninthewilderness.com/episodes/silvia-federici
 Federici, Silvia, video talk, "Collective Learning / Collective Care: Silvia Federici",
https://www.youtube.com/watch?v=tw5Sld1MVAU
2023 33 KAROLA
LÜTTRINGHAUS
 Foucault, M., 1979. Discipline and punish: the birth of the prison [Surveiller et punir.]. 2nd
ed. New York, NY: Vintage Books.
 Foucault, M., 1979.Michel Ffoucault, “theatrum philosophicum”
 Foucault, Michel "Technologies of the Self"
 Foster, Susan Leigh, Choreographing Empathy by Susan Leigh Foster
 Foster, Susan, “Reading Dancing”
 Foster, S.L., 1996. Choreography and narrative: ballet’s staging of story and desire.
Bloomington: Indiana University Press.
 Foster, S.L., 1997. Dancing bodies. In: J. Desmond, ed. Meaning and motion: New cultural
studies of dance. Durham, NC: Duke University Press, 235–257.
 Freire, Paulo "Pedagogy of the Oppressed"
From: https://beautifultrouble.org/theory/pedagogy-of-the-oppressed/#:~:text=In%20short%2C
%20Pedagogy%20of%20the,of%20domination%20(see%20below).&text=Goal%20is%20to
%20adapt%20people,are%20treated%20as%20passive%20objects.:
 Friedberg, Anne, "The Virtual Window: From Alberti to Microsoft"
 Frye, Marilyn, article "Oppression" http://www.filosoficas.unam.mx/docs/327/files/Marilyn
%20Frye,%20Oppression.pdf
G
 Gagliano, Monica, Thus Spoke the Plant: A Remarkable Journey of Groundbreaking Scientific
Discoveries and Personal Encounters with Plants...
 Galloway, Alexander, "The Unworkable Interface"
(2008), https://www.jstor.org/stable/20533123?seq=1#metadata_info_tab_contents
zotero: Goldyn-Meadow, Susan: 1) The role of gesture in communication and thinking

https://www.sciencedirect.com/science/article/abs/pii/S1364661399013972
Zotero: Gesture Paves the Way for Language Development,
https://journals.sagepub.com/doi/abs/10.1111/j.0956-7976.2005.01542.x?journalCode=pssa
zotero: 3) A window on the mind: https://books.google.com/books?
hl=de&lr=&id=LCJ5eQdsolsC&oi=fnd&pg=PA1&dq=Susan+Goldin-
Meadow&ots=XOmH4Una0I&sig=K7uFFOu0qm4S9KGeK4oq9z93_QM#v=onepage&q=Susan
%20Goldin-Meadow&f=false
[BUCH] Hearing gesture: How our hands help us think

Zotero: Transitions in concept acquisition: using the hand to read the mind.
 S Goldin-Meadow, MW Alibali, RB Church - Psychological review, 1993 – psycnet.apa.org
 zotero: gesture as simulated action, Alibali MW
 Thoughts conveyed through gesture often differ from thoughts conveyed through speech. A
model of the sources and consequences of such gesture–speech mismatches and their role …
2023 34 KAROLA
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zotero: [HTML] Why people gesture when they speak

 JM Iverson, S Goldin-Meadow - Nature, 1998 - nature.com
 People use gestures when they talk, but is this behaviour learned from watching others move
their hands when talking? Individuals who are blind from birth never see such gestures …
zotero: Language in mind: Advances in the study of language and thought

 D Gentner, S Goldin-Meadow - 2003 - books.google.com
 The idea that the language we speak influences the way we think has evoked perennial
fascination and intense controversy. According to the strong version of this hypothesis, called …
 langev.com
[PDF]
Spontaneous sign systems created by deaf children in two cultures
 S Goldin-Meadow, C Mylander - Nature, 1998 - nature.com
 Deaf children whose access to usable conventional linguistic input, signed or spoken, is
severely limited nevertheless use gesture to communicate 1 , 2 , 3 . These gestures resemble …
 free.fr
[PDF]
zotero: Explaining math: Gesturing lightens the load
 S Goldin-Meadow, H Nusbaum… - Psychological …, 2001 - journals.sagepub.com
 Why is it that people cannot keep their hands still when they talk? One reason may be that
gesturing actually lightens cognitive load while a person is thinking of what to say. We asked …
 [HTML] nih.gov
zotero: Gesturing makes learning last
 SW Cook, Z Mitchell, S Goldin-Meadow - Cognition, 2008 - Elsevier
 The gestures children spontaneously produce when explaining a task predict whether they
will subsequently learn that task. Why? Gesture might simply reflect a child’s readiness to …
 psu.edu
[PDF]
zotero: How our hands help us learn
 S Goldin-Meadow, SM Wagner - Trends in cognitive sciences, 2005 - Elsevier
2023 35 KAROLA
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 When people talk they gesture, and those gestures often reflect thoughts not expressed in
their words. In this sense, gesture and the speech it accompanies can mismatch. Gesture–…
zotero: Making children gesture brings out implicit knowledge and leads to learning.
 …, SW Cook, Z Mitchell, S Goldin-Meadow - Journal of …, 2007 - psycnet.apa.org
 Speakers routinely gesture with their hands when they talk, and those gestures often convey
information not found anywhere in their speech. This information is typically not consciously …
 [PDF]academia.edu
zotero: The role of gesture in learning: Do children use their hands to change their minds?
 SW Cook, S Goldin-Meadow - Journal of cognition and …, 2006 - Taylor & Francis
 Adding gesture to spoken instructions makes those instructions more effective. The question
we ask here is why. A group of 49 third and fourth grade children were given instruction in …
 [HTML] nih.gov
zotero: Early gesture selectively predicts later language learning
 ML Rowe, S Goldin‐Meadow - Developmental science, 2009 - Wiley Online Library
 The gestures children produce predict the early stages of spoken language development.
Here we ask whether gesture is a global predictor of language learning, or whether particular …
The resilience of language: What gesture creation in deaf children can tell us about
zotero: [BUCH]
how all children learn language
 S Goldin-Meadow - 2005 - books.google.com
 Imagine a child who has never seen or heard any language at all. Would such a child be able
to invent a language on her own? Despite what one might guess, the children described in …
 academia.edu
[PDF]
zotero: The mismatch between gesture and speech as an index of transitional knowledge
 RB Church, S Goldin-Meadow - Cognition, 1986 - Elsevier
2023 36 KAROLA
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 This study investigates two implications of frequent mismatches between gesture and speech
in a child's explanations of a concept: (1) Do gesture/speech mismatches reflect a basic …
 [HTML] nih.gov
zotero: Gesturing gives children new ideas about math
 S Goldin-Meadow, SW Cook… - Psychological …, 2009 - journals.sagepub.com
 How does gesturing help children learn? Gesturing might encourage children to extract
meaning implicit in their hand movements. If so, children should be sensitive to the particular …
 [PDF] academia.edu
zotero: Children learn when their teacher's gestures and speech differ
 MA Singer, S Goldin-Meadow - Psychological Science, 2005 - journals.sagepub.com
 Teachers gesture when they teach, and those gestures do not always convey the same
information as their speech. Gesture thus offers learners a second message. To determine …


 martha Graham Dance Company (on technique), on choreography and meaning , texts tbd
 https://www.youtube.com/watch?v=E8p9Fpyv4ng
 Graham-Jones, Jean, article: Jean Graham-Jones (2015) Translation, Contemporary Theatre
Review, 25:1, 61-63, DOI: 10.1080/10486801.2015.992243 To link to this article:
https://doi.org/10.1080/10486801.2015.992243

 Green, J., 2001. Socially constructed bodies in American dance classrooms. Research in dance
education, 2, 155–173.
 Green, J., 2003. "Foucault and the training of docile bodies in dance education. " article,
19, 99–125.
 Grof, Stanislav, Beyond the Brain: Birth, Death, and Transcendence in Psychology: Birth,
Death and Transcendence in Psychotherapy (Suny Series in Transpersonal and Humanistic
Psychology) : youtube.com/watch?v=dswm2eCb-WE
 Grosz, Elizabeth, Sexual Subversions, chapter on Lacan and Psychoanalysis,
(p.11) https://www.amazon.de/-/en/Elizabeth-Grosz/dp/0043510728
2023 37 KAROLA
LÜTTRINGHAUS
 Guattari, Felix, "The machinic unconscious"
H
 Hanna, Thomas Louis (Hannah Somatics) , "Somatics: Reawakening The Mind's Control Of
Movement, Flexibility, And Health"
 Haraway, Donna, Primate Visions: Gender, Race, and Nature in the World of Modern Science
 Haraway, Donna, Modest Witness,
 HAY, dEBORAH, My Body the Buddhist by Deborah Hay
 Hay, Deborah; Deborah Hay: interview: https://www.youtube.com/watch?v=c3J8x7Jn6Rs
 HAY, dEBORAH interview: https://www.youtube.com/watch?v=c3J8x7Jn6Rs
 HAY, dEBORAH interview: https://www.youtube.com/watch?v=j5SYVDPpxUI
 HAY, dEBORAH, Deborah Hay: interview with her dancers: https://www.youtube.com/watch?
v=sZyVWXH969s
 Hick, Alexander, "Thinking like a Mountain", film, https://www.youtube.com/watch?
v=6vvjzROQBSA
 Hunter, Lynette, "Politics of practice", Lynette Hunter,
 Husemann, Pirrko, Choreographie als kritische Praxis: Arbeitsweisen bei Xavier Le Roy und
Thomas Lehmen (TanzScripte) (Deutsch) Taschenbuch – 1. Juli 2009 von Pirkko
Husemann (Autor), https://www.amazon.de/s?
i=stripbooks&rh=p_27%3APirkko+Husemann&s=relevancerank&text=Pirkko+Husemann&ref
=dp_byline_sr_book_1
J
 James, William, 1969, "The Feeling of Effort" in collected essays and reviews, New York: rusell
and Russell
 Jihoon, Kim, Intermedial essay films: “Memories-in-between”, from Anuj:
https://www.screenstudies.com/encyclopedia-chapter?docid=b-9781501304750&tocid=b-
9781501304750-chapter4
K
 Kindler, Alan, Spontaneity and Improvisation in Psychoanalysis' Alan M.B.B.S. Published in
Psychoanalytic Inquiry, May 13, 2010, ISSN: 0735-1690 print/1940-9133
online, DOI:10.1080/0735169090326181
 Klein, Gabriele, https://www.youtube.com/watch?v=GMVROrDysWk&feature=emb_logo,
Gabriele Klein, Interview mit Gabriele Klein ueber ihr Buch
 Klein, Gabriele, Pina Bausch und das Tanztheater: Die Kunst des Übersetzens (TanzScripte,
Bd. 55) (Deutsch) Gebundene Ausgabe – 26. September 2019
 Kohn, Eduardo, How Forests Think (Ch 2 The Living Thought) by

 Kulchyski , Peter , Like the Sound of a Drum
2023 38 KAROLA
LÜTTRINGHAUS
 Kohn, Alfie, "Punished by Reward", https://www.alfiekohn.org/punished-rewards/

 Krakauer, Siegfried “From Caligari to Hitler”
 Kruger, Joel W., "Knowing through the body: daodejing and dewey"
L
 LaDuke, Winona, Seeds The Creator gave Us, @ Bioneers, talk
 Lacan, "Anamorphosis" chapter 7 on the gaze.
 Laermans, Rudi,'moving together', (part 1), ('social choreographies of Collaboration') around

p. 338
 Lepecki, Andre,"of the presence of the body', (Ontology 'events'), (part 3), “Singularities”
 Lev, Ilan, Ilan Lev Method, videos, https://www.youtube.com/watch?v=B54pbnjVr_I
https://www.youtube.com/watch?v=_CXgXyWz_Os
 Louis, Renee Pualani , Kanaka Hawai’I Cartography: Hula, Navigation, and Oratory. Oregon
State University Press, 2017.
M

 Manning, Susan Allene, "Tanztheater: An American Perspective" published in The Drama

Review, by Susan Allene Manning
 Manning, Erin: Politics of Touch: Sense, Movement,

Sovereignty, https://www.jstor.org/stable/10.5749/j.ctttsxrz has the beginnings of each
chapter. Chapter 3. Erring toward Experience: Violence and Touch
 Manning, Erin, Manning, E. (2012) Always More Than One: Individuations’s dance. Durham
and London: Duke University Press. Chapter 1, “Toward a Leaky Sense of Self”, Chapter 2
“Always More Than One”
 Manning, Erin; "Thought in the Act", (note: effortlessness in action)
 Manning, Erin, The Minor gesture, chapter 6: "The feeling of effort" William James
 Mate, Gabor, "When the Body says No"

 Mate, Gabor, various you tube talks and interviews
 Means, Russell, https://youtu.be/IZY7FWVTbR8
2023 39 KAROLA
LÜTTRINGHAUS
 Means, Russell, "WHERE WHITE MEN FEAR TO TREAD: The Autobiography of Russell
Means" Paperback – 1 Dec. 1996, available as audio book
 Means, Russell, 'If You've Forgotten the Names of Clouds, You've Lost Your Way: An
Introduction to American Indian Thought and Philosophy' Paperback – 14 Feb. 2013
by Russell Means (Autor, Illustrator), Bayard Johnson (Autor)
 Meehan, Emma, "PERFORMING PROCESS: Sharing Dance and Choreographic Practice"
https://www.amazon.com/dp/B07H1LDRS5/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1
 Menakem, Resmaa "My Grandmother’s Hands"
 Menakem, Resmaa, video interviews
 Maus, Marcel "Techniques of the Body"
 Romdenh-Romluc, Komarine: "Science in Merleau-Ponty's Phenomenology"
https://www.youtube.com/watch?v=JCY-edDd4_g, video talk,
 Merleau-Ponty, Maurice "Phenomenology of perception", (I have the pdf)
 Miller, Alice, "For your own good: Hidden Cruelty in Child-Rearing and the roots of violence”
 Melzer Derek, "The Act of Thinking", https://mitpress.mit.edu/books/act-thinking
 Montrose, Louis, "The Purpose of Playing: Shakespeare and the Cultural Politics of the
Elizabethan Theatre", Jun 1, 1996
N
 Nadj, Josef, movement theatre, https://www.youtube.com/watch?
v=rhUWkEqYPt0&t=707s, http://josefnadj.com/il-ny-a-plus-de-firmament/?lang=en
 Noë, Alva, Alva Noe "Strange Tools" making art is a practice of engaging
philosophically https://www.youtube.com/watch?v=VcidL9uXw6A
 Noe, Alva, "Out of our heads: You are not your brain",
 Noë, Alva, Alva Noe talks about the "emancipatory value of art,... art reorganizes us,...
liberates us" "I dare you to see me" "I dare you to bring me into focus" "See me, if you can".
making art is a practice of engaging philosophically.
 Noe, Alva, Action in Perception
 Noe, Alva, https://www.youtube.com/watch?v=MoOHWHEJOLU Alva Noe, "You are not your
brain" talk
 Noë, Alva, Alva Noe, 2 books, theatre/art as philosophy "Strange tools: art & human nature"
(Isa suggests chapters "reorganizing ourselves" and "thought & experience", book "Action &
perception" 3rd section on the essence of the body
 Novack, C.,1993. Ballet, gender and cultural power. In: H. Thomas, ed. Dance, gender and
power. London: MacMillan, 34–48.
2023 40 KAROLA
LÜTTRINGHAUS
 (**) Alva Noë, Strange Tools: Art and Human Nature/Alva Noe? Talks at Google
https://www.youtube.com/watch?v=VcidL9uXw6A&feature=youtu.be
video on youtube
O
 O'Conor, Kevin, "Moving and Thinking with Fascia" https://contactquarterly.com/cq/article-
gallery/view/moving-and-thinking-with-fascia.pdf (I have the pdf on my laptop)
 Orcullo, Jules, https://www.youtube.com/watch?v=LOYE-gCdSM8&feature=youtu.be
"What’s left of you? Performance, decolonisation & self-determination " TEDxUCLWomen
P
 Paxton, Steve, "Gravity", Steve Paxton, 2018. Contredanse Editions, Brussels.
 Paxton, Steve, https://vimeo.com/403600420, swimming in gravity, lecture
 Pickering, Andrew Pickering,"A Mangle In Practice"
 Pollan, Michael "How to Change Your Life: The new Science in Psychedelics" ,
 Pinker, Steven, https://www.youtube.com/watch?v=OV5J6BfToSw, Linguistics, Style and

Writing in the 21st Century
 Pite, Crystal, choreographer
 Rau, Milo interview, https://www.youtube.com/watch?v=LiypTV8kOMw
 Rito, Carolina, Coventry University, (see details about her under 'core questions” List of
various practcie research conferences she organiezd are here:
https://www.youtube.com/playlist?list=PLwLPjXTfgoSNAA-W1ZC__sN8bvINU-EGg
 Rothfield, Philipa, "Beyond Habit, The Cultivation of Corporeal Difference"

https://www.sdu.dk/-/media/files/om_sdu/institutter/iob/forskningsenheder/bevaegelseidraet
samfund/bodies-forces-and-thinking-in-dance.pdf?
la=da&hash=34214214FF170053C7C2DC3E3A348263E3678520
 Rotmann, Bryan ,last two chapters of “Becoming Beside Ourselves”, kindle version
 Rosenberg , Marshall , "non-violent communication"
S
 Sandoval, Chella "methodology of the oppressed" has chapter on Foucault, was

recommended by Sarah Hart
2023 41 KAROLA
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 Schulze-Reuber, Rika, Das Tanztheater Pina Bausch: Spiegel der Gesellschaftt Taschenbuch –
1. März 2008
 Schopenhauer, Arthur, "Studies in Pessimism" https://librivox.org/studies-in-pessimism-by-
arthur-schopenhauer/, (audiobook) and https://www.youtube.com/watch?v=q0zmfNx7OM4
video about Schopenhauer
 Shakespeare, William, "Midsummer Night's Dream"
 Spangberg, Marten, https://www.youtube.com/watch?v=Pu-kVBZnRMg, talk about meaning,
 Stiegler, Bernard; Technics and time (on epiphilogenesis)
 Strathern, Marilyn, "The gender of the Gift"
 Stuart, Meg. ,"Are we here yet?" Peeters, Jerome, 2009,

 Sadhguru, video on intuition: https://www.youtube.com/watch?
v=7tXl2M14Yhg&feature=youtu.be
 Sultana, Tash, "Finding a place through music" https://www.youtube.com/watch?
v=nOHVw_qktoM&feature=youtu.be
 Sweigard, Lulu, https://www.amazon.com/Human-Movement-Potential-Ideokinetic-
Facilitation/dp/1626549443
T
 Taussig, Michael, 'mimesis and alterity', chapters: (spacing out), (the spirit of the mime), (the
spirit of the gift), amazon excerpt at: https://www.amazon.de/Mimesis-Alterity-Particular-
History-Senses/dp/0415906865/ref=sr_1_1?__mk_de_DE=%C3%85M%C3%85%C5%BD
%C3%95%C3%91&dchild=1&keywords=mimesis+and+alterity&qid=1588777626&sr=8-1,
 Taussig, Michael. youtube talk, interview with Michael
Taussig, https://www.youtube.com/watch?v=3VMYSgPWFKs, mentions Mimesis and Alterity,
video, talk by Michael Taussig, https://www.youtube.com/watv=l_N3Zb4w350,
 Taylor, Diana,"The Archive and the Repertoire: Performing Cultural memory in the
Americas";
 Taylor, Sunaura, https://www.amazon.com/dp/B06XBDPBYL/ref=dp-kindle-redirect?
_encoding=UTF8&btkr=1, Beasts of Burden, Animal and Disability Liberation
 Taylor, Sunaura, video about Sunaura Taylor: https://www.youtube.com/watch?
v=1RokWAuCkVw, Animal & Disability Liberation - with Sunaura Taylor
 Taylor, Sunaura, video talk: https://www.youtube.com/watch?v=_OOEXLylhT4, Sunaura
Taylor on "Disabled Ecologies: Living with Impaired Landscapes, I have a response to the talk
she gave at UC Davis Sunaura Taylor came to UC Davis and it was the best talk ever, relavantly
connecting all fields, ...
 Taylor, Sunaura, live talk at UC Davis, my notes from it
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 Tallbear, Kim, https://www.youtube.com/watch?v=TkUeHCUrQ6E, video talk, Life (Un)Ltd

Lecture: Kim TallBear - Beyond Life/Not Life
 Tallbear. Kim,, https://www.youtube.com/watch?v=pzVKVBgb4S4, video talk, science and
whiteness
 Tallbear. Kim, audio interview: https://www.multiamory.com/podcast/181-kim-tallbear,

Settler Sexuality
 Tallbear. Kim,, video talk: https://www.youtube.com/watch?v=zfdo2ujRUv8, "Making Love

and Relations Beyond Settler Sexualities"
 Tallbear. Kim, Disrupting life/not-life, video talk: https://www.youtube.com/watch?v=iE-

gaDG-kLQ, (DOPE 2015 Keynote Address)
 Thompson, Evan; Waking, Dreaming, Being: Self and Consciousness in Neuroscience,
Meditation, and
Philosophy, https://www.amazon.com/gp/product/B00O0G161C/ref=dbs_a_def_rwt_bibl_vpp
i_i2
 Thompson, Evan, various youtube talks
 Todd, Mabel Elsworth. The Thinking Body; a Study of the Balancing Forces of Dynamic
Man. Brooklyn: Dance Horizons, 1968.
 Tolle, Eckhart, https://www.youtube.com/watch?v=TjioVaqoyU0&feature=youtu.be, Talk,
 Eckhart Tolle, How do you know when higher consciousness is guiding

you? https://www.youtube.com/watch?v=YFPgTUpcZcY&feature=youtu.be
 Tomasello, Michael: Understanding and sharing intentions: The origins of cultural
cognition
 M Tomasello, M Carpenter, J Call, T Behne… - Behavioral and brain …, 2005 - cambridge.org
 We propose that the crucial difference between human cognition and that of other species is
the ability to participate with others in collaborative activities with shared goals and …
 [PDF] javier.io
[BUCH] Origins of human communication
 M Tomasello - 2010 - books.google.com
 … of human communication, Michael Tomasello connects the … Tomasello argues that human
cooperative communication … by his own research team), Tomasello argues further that humans' …
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 mpg.de
[PDF]
Shared intentionality
 M Tomasello, M Carpenter - Developmental science, 2007 - Wiley Online Library
 We argue for the importance of processes of shared intentionality in children's early cognitive
development. We look briefly at four important social‐cognitive skills and how they are …
 [PDF] mit.edu
Joint attention and early language
 M Tomasello, MJ Farrar - Child development, 1986 - JSTOR
 This paper reports 2 studies that explore the role of joint attentional processes in the child's
acquisition of language. In the first study, 24 children were videotaped at 15 and 21 months …
 Van der Kolk, Bessel, "The Body Keeps the Score Brain, Mind, and Body in the Healing of
Trauma" MD (z-lib.org).epub
 Visvanathan, Shiv , "Annals of the Laboratory State"
W
 Wall Kimmerer, Robin, "Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge,
and the Teachings of Plants", https://books.google.de/books?
hl=en&lr=&id=vmM9BAAAQBAJ&oi=fnd&pg=PR7&dq=braiding+sweetgrass&ots=nhmfALa6
gR&sig=vF3CY_EmUFx3pjfuxBNbKNuDHjc&redir_esc=y#v=onepage&q=braiding
%20sweetgrass&f=false (pages 1-79)
 Wall Kimmerer, Robin, video https://www.youtube.com/watch?v=3dnS8c7ndRM "ROBIN

KIMMERER: How to Nurture Your Soul through Indigenous Wisdom" interview with R.
Kimmerer
 Wall Kimmerer, Robin, "Gathering Moss"
 Wall Kimmerer, Robin, "reclaiming the honorable

harvest", https://www.youtube.com/watch?v=Lz1vgfZ3etE&feature=emb_logo
 Watts, Alan Watts, wu wei, https://www.youtube.com/watch?v=ZzaUGhhnlQ8
2023 44 KAROLA
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 Watts, Vanessa Watts, "Decolonization: Idigeneity, Education, & Society" Vol. 2, No.1, 2013,
pp. 20-34
 Watts, Vanessa, "Indigenous place-thought & agency amongst humans and non-
humans (First Woman and Sky Woman go on a European world tour!)" Queen’s University,
Canada, https://jps.library.utoronto.ca/index.php/des/article/view/19145
 Webb-Magee, Lena Rose, notes from rehearsal, notes from interviews, zoom meetings,e tc.
and performance/reheasral work
 Williams, James, Gilles Deleuze's Difference and Repetition: A Critical Introduction and
Guide", by James Williams
 Wilson, Margaret & Geber, Pamela,"Teaching at the Interface of Dance Science and
Somatics" Pamela Geber, M.F.A., and Margaret Wilson, Ph.D. article at axis forums .org
 Wilson, Robert, "TSE, Come in under the shadow of this red rock" (performance experience
in Weimar, Germany)
 Wilson, Shawn , Research as Ceremony
 Wink, Walter Wink, various talks on youtube
 Wittgenstein, Ludwig, Ludwig Wittgenstein, https://www.youtube.com/watch?
v=pQ33gAyhg2c and https://www.youtube.com/watch?v=zmwgmt7wcv8&t=138s
Y
 Yatuv, Itay, contact improv: ted talk, Hakvutza Dance School in Jaffa, Tel Aviv,
https://www.youtube.com/watch?v=Gi-OaiQvnTU
Z
 Zero visibility, Norwegian company zero visibility, http://www.zerovisibility.no/aboutus
other links etc:
https://danceartjournal.com/2020/03/19/dance-dance-otherwise-we-are-lost/
2023 45 KAROLA
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Dissertation Prospectus Tracing Gesture Luttringhaus July 5 2023

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DISSERTATION PROSPECTUS: KAROLA LUTTRINGHAUS – JUNE 16th, 2023

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HYPOTHESES & CORE THEMES

Dance, dance... otherwise we are lost! An articulation theory.

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PAR considerations: Choreographic practice in itself can be considered an intellectual exercise .

MAIN AREAS & ECOLOGIES

CORE QUESTIONS – Practice Research

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This bistouryan/dissective approach, a persistent legacy of the European Enlightenment period,

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By trying to justify practice as a viable academic field, or by demoting it to an appendicular or

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Conversation. I am seeking to conversations between the fields of choreography, philosophy,

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Conversation. I am seeking conversations between choreography, philosophy, psychology,

DISSERTATION CHAPTERS in the process of restructuring

(list of chapters from student progress report)

1. DEDICATION & THANK YOU

place/scenic design/site specificity)

1. gesture is intrinsic to language

1. Findings from movement studies

◦ created in relationship to the practice research project: UCD Performance Studies

My research in effortlessness movement practice and my QE topic of dis-articulation and violence in

Case study#5: Robert Wilson?

Main areas: PEDAGOGY, PAR, CHOREOGRAPHY/PRACTICE

 Case 1: Pina Bausch

 Case 4: Robert Wilson

 Other ways of dancing

 I hope to be able to amplify the minute nuances of meaning and intuition

LITERATURE REVIEW (Situating)

Situated in embodied practice/movement research

Thinking with pedagogy of movement

 The relevance of a practical application of effortlessness in movement in education is considered

Thinking with philosophy of embodiment

◦ NC, USA/Germany - travel, lodging

◦ Artist & research residency at Nomadic College at Earthdance, Massachussetts, October

 Conference Participation & Attendance

◦ Movement Artisans Festival/Conference: November 13-19 Berlin Eden Studios, presenting

◦ PSI International conference/online: registered, attending

 Attending Performances by other artists

 Interviews with Practitioners and Critics

◦ USA, Germany, internationally - travel, lodging, will be organized to coincide with

 "TRACING GESTURE": Creative Research and Performances

◦ The “Tracing Gesture” project consists of

▪ choreographic experiments and experimental dance films

▪ sharing research process and findings with audiences of different kinds

 peers, colleagues, general public, conference attendees, etc

◦ Results of the “TRACING GESTURE” project in the summer 2023 are

▪ a chapter in my dissertation entitled “Tracing Gesture”

▪ Contributions to other chapters

▪ Draft for a paper for submission at conferences in 2024/25

▪ Preparation for the presentation of “Tracing Gesture” and my research in general at

◦ Funding considerations for this practice research project:

▪ In addition to locations on the UCD Campus, I have organizational partners that

 Cameron Art Museum/NC, Ponderosa Dance/Germany, Lake Studios (details tbd),

 Bausch, Pina, http://www.pina-bausch.de/en/communicating-dance/searching-finding/

 Bausch, Pina,https://www.youtube.com/watch?v=s7pV2cX0qxs&has_verified=1 (sacrificial

 Bourdieu,“Theory of Habitus” https://www.youtube.com/watch?v=WvzahvBpd_A, intro video