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How Do You Want to Work Today? Notes on an Alternative Choreographic Mode for the Production of Speech Jeroen Peeters How do you want to work today? Simple as it may sound, addressed to choreographers, performers and other workers in the field of dance and performance, this question yields myriad answers. Asked moreover within a dance congress that operated under the lofty banner Know- ledge in Motion1, the performativity of the question uncovers ambiguous and conflicting discursive streams and ideologies that nurture today’s debate on artistic research

in her nine solos in Visitations. The nine solos provide new productions of choreographic fragments from pieces by Vaslav Nijinsky, Merce Cunningham, Isadora Duncan, Valeska Gert, Tatsumi Hijikata and Dominique Bagouet, among others. Cima’s body is the thread which connects these otherwise widely differ- ing worlds of dance. It is a thread which symbolises the fact that dance – above and beyond its historical dimension and forms of expression – is primarily concerned with appropriation and updating. It is a game of listening and (re)creating. Alexandra


Introduction GABRIELE KLEIN, SANDRA NOETH In Europe, dance has brought forth a multitude of new ‘worlds’ over the last few decades, especially in Germany against the backdrop of Tanzplan Deutschland1: dance houses, dance centers, dance forums, dedicated completely or in the context of other arts to dance and choreography; mobile self-organized, often temporary artist collectives, which are not limited to a certain region; new educa- tion programs at art academies and universities; academic and artistic research, not only in dance theory and as a result


Matzke Artistic Research between Dance and Theory – A Response in Six Questions | 69 References | 75 AESTHETICS Introduction by Gerald Siegmund Aesthetic Experience | 81 Juliane Rebentisch The Question of the Aesthetic | 89 Krassimira Kruschkova The Resistance to Dance Theory. Being-With, the Aesthetic Event | 97 Stefan Hölscher Beautiful Affects in Choreography | 103 Sabine Huschka Intertwinings: The Dis/Positions of Dance Aesthetics | 107 Katja Schneider Unexpected Horizons of Meaning | 115 Response by Katherine Mezur

Protocols of Encounter: On Dance Dramaturgy SANDRA NOETH “It’s amazing. We all came together at the same time. Because we are all here … and you’re all here ... and so we’re all here together”, Claire Marshall puts it in a nutshell in The Thrill Of It All by Forced Entertainment.1 This shared ‘being-in-time’ and the instantaneousness and immediacy of influences and products, which reveal themselves in it, seems to me one of the fundamental parameters for thinking about dramaturgy in the context of current choreographic

Practice by Linda Kapetanea and Jozef Frucek. Training Neoliberal Dancers 139 mentally f lexible and innovative by blurring the pedagogical norms of teach- ing technique, choreography, and improvisation. This mix of approaches used in Gaga is what I would describe as a »meta- technique«, or a metacognitive method of movement invention. I refer to the origin of this term that comes from the analysis of the agency of a dancer by Randy Martin, who argued that dancers maintain individual agency even while working for a choreographer because the dancer’s internal


Contents INTRODUCING Performativity, performance studies and digital cultures Martina Leeker, Imanuel Schipper and Timon Beyes | 9 HISTORICIZING Performing (the) digital. Positions of critique in digital cultures Martina Leeker | 21 ANNOTATING Making digital choreographic objects interrelate: A focus on coding practices Scott deLahunta and Florian Jenett | 63 AFFECTING Speculation about 1:0. On the productive difference of the interval Marie-Luise Angerer | 83 TRADING The noisy motions of instruments: The performative space

. Fragen zum ästhetischen Konzept/zur Bewegungssprache: In your opinion, which aspect of voguing is most eye-catching and special? Please describe the voguing poses. Which message do they portray? Which relationship occurs between intuitive, improvisedmotions and a set choreography? Which stylistic elements are used? Which aesthetical concepts can you name? What is the socio-cultural background of voguing or which socio-cultural setting comes into play? Which relationship between gender and sex in general can be found in voguing? Which role does fashion and costumes play


Gabriele Klein, Sandra Noeth (eds.) Emerging Bodies Critical Dance Studies edited by Gabriele Brandstetter and Gabriele Klein | Volume 21 Gabriele Klein, Sandra Noeth (eds.) Emerging Bodies The Performance of Worldmaking in Dance and Choreography The publication was kindly supported by the Department for Human Move- ment Studies/University of Hamburg Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche


| 103 KÖRPERRHIZOME ZWISCHEN KUNST UND PHILOSOPHIE Krassimira Kruschkova Der blinde Seekrebs | 121 Zum Nicht(s)tun im zeitgenössischen Tanz und in Performance Peter Hertz-Ohmes Deleuzian Empiricism and the Potential of Chaotic Choreographies | 137 Susanne Valerie, Arno Böhler See What You Hear | 149 Staging Philosophy KÖRPERRHIZOME ZWISCHEN PHILOSOPHIE UND PHILOSOPHIE Marc Rölli Spinoza gegen Descartes | 163 Oder warum man den Körper nicht ausblenden kann Laura Cull Deleuze’s bodies, philosophical diseases and the thought of illness | 185 Marcus Steinweg Tropisches