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Thinking with William Forsythe's Duo

Beautiful Affects in Choreography STEFAN HÖLSCHER “The philosophy of organism aspires to construct a critique of pure feeling, in the philo- sophical position in which Kant put his Critique of Pure Reason. This should also super- sede the remaining Critiques required in the Kantian philosophy. Thus in the organic phi- losophy Kant’s ‘Transcendental Aesthetic’ becomes a distorted fragment of what should have been his main topic.” (Whitehead 1987: 113) “The drusy, in awakening our interest in beauty, points us in the direction of a non- cognitive

Audible and Inaudible Choreography Atmospheres of Choreographic Design Johannes Birringer 1. he aring dance – heurSchpiel Protocol no. 1: as an obscure beginning – a reference to OuLiPo1 and Georges Perec’s radio play Die Maschine, imagined in French but first written in Ger- man with translator Eugen Helmlé, the broadcast released by Saarländischer Rundfunk in November 1968. Corresponding with the translator, Perec refers to the radio play as an Ohrspiel (ear play) or heurschpiel, in his wonderful homo- phonic spelling. The theme of my presentation is

Embryology as Choreography ISABELLE SCHAD When the body and its materiality becomes the work itself and the work itself becomes experience and process, the question of generation – and the question of looking into the future – become relative to the complex interdependencies be- tween the making of work and the mechanisms of production. Thus the perti- nence of re-inventing our practices and re-considering the finished by putting the emphasis on continuous learning processes may be disturbed or challenged. Thinking about the ‘Next Generation,’ the first

Making digital choreographic objects interrelate A focus on coding practices SCOTT DELAHUNTA AND FLORIAN JENETT Dance is a field of artistic practice(s) commonly associated with bodily move- ments and with the concept of a choreographer making certain kinds of decisions about where and when these movements will be performed in front of an audi- ence on a stage. There is plentiful evidence for this understanding of dance even though there is little consensus within the field itself about things like the physi- cal training of dancers, the education

Dancing Politics: Worldmaking in Dance and Choreography GABRIELE KLEIN I. Dance is a world in itself – this is a central figure of discourse since the beginning of the 20th century, i.e. the period in which modern industrial society was established.1 As a world of the body and the senses, of movement and feelings, as a world of metaphors, for which words fail us, dance in the modern age, according to the modern dance discourse, constitutes an alternate world, namely a world beyond language and rationality. In the 20th century, dance, regardless of

Synchronous Objects, Choreographic Objects, and the Translation of Dancing Ideas NORAH ZUNIGA SHAW A broad range of new projects are happening today at the intersection of dance research and digital media and concerned with the re-articulation and trans- mission of bodily knowledge in contemporary dance practices. A few recent examples include The Forsythe Company’s Motion Bank project focusing on the work of Bruno Beltrão, Jonathan Burrows, and Deborah Hay; Wayne McGregor’s work with Scott deLahunta, Philip Barnard and others on choreography and

Risk Taking Bodies and Their Choreographies of Protest1 Cristina Rosa In her essay “Choreographies of Protest,” dance scholar Susan L. Foster proposes that we consider “the body as capable of both persuasion and obstinate recalci- trance,” demonstrating, as she puts it, “the central role that physicality plays in con- structing both individual agency and sociality.”2 To prove her point, in the article Foster examines three historical non-violent events in the United States. In these examples, she argues, agents take center stage and execute a set of planned

PETER HERTZ-OHMES Deleuzian Empiricism and the Potential of Chaotic Choreographies “Wie macht man sich wahnsinnig, wenn man es nicht ist?” 1 Thank you for allowing me to speak English. Or rather, American. Americans are awfully nice people. I know, I am one of them! But in some respects they are illogical or unreasonable. In New York City and in Vienna one would say “me- schugge”. For example, in matters of nakedness, or politics. And since I want to say a little about both, I can only speak American. Otherwise you might possibly misunderstand me. This

225 BLURRING THE BOUNDARIES - INTERACTIONS BETWEEN CHOREOGRAPHY, DANCE AND NEW MEDIA TECHNOLOGIES SCOTT DELAHUNTA The connections between dance and technologies can be looked at from five fundamental perspectives: • Historic: Separate but often overlapping contemporary arts practices; modern/ post-modern dance having evolved alongside the electronic and media arts • Creative: An artistic tool in particular in the form of the digital com- puter; technology integrated into a variety of genres such as music, film, graphic arts, etc. and to an increasing