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, two of our bachelor students, built TouchMeDare, inspired by Sietske Klooster20 (figure 6). TouchMeDare consists of a large screen that invites people to ex- plore each other by touching the screen. As they do this, they create music. This screen has been experimentally tested, but it has also been tried out at Lowlands, a Dutch music festival. Fig. 6: TouchMeDare by Rob Tieben and Koen van Boerdonk. Sietske developed an original approach to design based on dance or movement called Choreography of Interaction.21 Sietske developed an original approach to design

‘ challenge the ‚Polis‘? Scenography itself is an emerging field of inquiry that challenges traditional classification of disciplines, especially within a university curriculum; as a sub-discipline it could be anchored within theatre, architecture, visual arts, music, choreography, design and communications studies. However, within the last decades scenography has shown to be in emergence as a mature field of study and crosses individual disciplines within the humanities, but also between the social sciences focusing on trust and confidence within the confines of

Metamorphose bei Duchamp ein inspirierendes Vorbild fanden.14 Er hat nicht nur die Mechanisierung der Körper als „ready mades“ beschrieben, sondern in seinem Hauptwerk Das große Glas im wahrsten Sinne des Wortes die Puppen tanzen lassen. 13 Henri Poincaré: Wissenschaft und Methode, Leipzig 1927, S. 48. 14 Gabrielle Brandstetter: Defi gurative Choreography: From Marcel Duchamp to William Forsythe, in: TDR (The Dance Review), Cambridge MA, Winter 1998, Vol. 42, No. 4, S. 37-55; vgl. auch: TanzLektüren: Körperbilder und Raumfi guren der Avantgarde, Frankfurt am Main 1995

fertigt sie seit geraumer Zeit mit Zeichnungen wie daily habitus: choreographic trace (09/08/11) eine genaue Karte der Navigation ihrer Katze in ihrer Wohnung an und hält akribisch fest, wo die Katze verweilt und in welche Richtungen ihre Bewegungsmuster verlaufen. (Abb. 1a) Das Ablaufen innerhalb bestimmter Grenzen der Wohnung, das sie so sichtbar macht, deutet Bristol beispielsweise als eine feline Reviersicherung, die die Katze im vollen Bewusstsein ihrer eigenen Örtlich- sowie Zeitlichkeiten unternimmt. Bestimmte Bewegungsrich- tungen glaubt sie auf

also social attachment and strong emotional ties to a place, the natural landscape, rela- tionships and traditions (see Dogramaci 2016, 11; Fox 2016). In regard to Chalayan’s furniture dresses, what catches the viewer’s eye in the first place is the flexible, only seemingly practical and above all highly aes- thetic design: The smoothly polished surfaces, the concern about the prop- er placement of the objects, the staging and the deliberately chosen light and colors, the choreography as well as the ‘perfect’ human bodies – the models – within a fashion show

Win- tour 2016. 2 For a critique of Wintour’s apology, see Rawlinson 2016. 60 ALEXANDRA KARENTZOS the models stand on two large cubes covered with cloth, purportedly recalling barracks. The choreography here evokes Beecroft’s well-known performanc- es, where naked or almost naked models loosely stand together to form tab- leaux vivants. In contrast, the models beneath them are pressed together into a heaving mass, triggering associations with refugee camps. Conventionally, fashion shows give prominence to parading and exhibit- ing, so that the models can be seen

sogenannte choreogra- phische Objekte: „Fortunately, choreographic thinking being what it is, proves useful in mobilization language to dismantle the contraints of this degraded station (hier bezieht er sich auf den in der Tradition niederen Stellenwert des Körpers) by imagining other physical models of thought that circumvent this misconception. What else, besides the body, could physical thinking look like?“, Forsythe (2013). 27 Vgl. McNeil (2007), Vgl. Rudolf Arnheim, er sieht Gesten als Vorläufer von Zeichnun- gen an und verweist auf die Abstraktionsleistung beider