The second (and the last) part of the text Microchoreographies: the dynamics of virtual corporeality as a means of structuring visual [social] spaces (2018) by Moscow-based dance-artist and theoretician Dasha Iuriichuk. You can find the first part here.
Chapter 2. Dance between thinking, seeing and moving
2.1. The body and the environment
“Why should our bodies end at the skin, or include
as best other beings encapsulated by skin?”
– Donna Haraway, 1984
The origins and reasons of attention to the interaction between body and environment can be found in the “Ecological Approach to Visual Perception” [17] by James J. Gibson, a psychologist who developed a new general theory of perception. Gibson proposes the concept of “natural vision” implying that vision can involve not only eyes, but the head and the body: human can approach something interesting, go around it – movement is a fundamental aspect of vision and perception. The body, endowed with the ability to feel (including animals), and the environment are closely related to each other and there is no one without the other. For Gibson the rejection of the Cartesian space of science, which does not distinguish animal from all other objects, is also important: “Geometric space is a pure abstraction. (…) Space is a myth” [18]. Criticizing classical physics, he notes that it is better to speak about the surrounding world in terms of medium, substances and surfaces (Medium, Substances, Surfaces).
Delezian author Erin Manning describes this mutual determination of the body and the environment as “body-world”. She criticizes the proponents of the concept of the body as a containment or reservoir. Criticizing this approach, Manning describes the interaction of the body and the environment as topological strata – milieu in which a clear boundaries are not traced, but where individuation resonates. Becoming-body is the assemblage of a moving body reaching for the world and the world, in its turn, reaching for the body. “Body-world” is a complex sense-assembly acting through different co-constitutive strata. Similarly, Laura Marks describes perception, which is also corporea,l according to her: she suggests to compare the Universe with a strudel, obtained from a folded thin sheet of dough: there is no depth – if something is difficult to achieve, it is because it is distanced by many layers. Perception is the statement of continuity between layers. Expression of the perceived is an actualization of the virtual events enfolded in those layers [19].
Manning’s theory is also interesting because of its close attention to the environmental awareness. In the article “Coming Alive in a World of Texture: For Neurodiversity” written in collaboration with Brian Massumi, she describes an autistic perception that does not distinguish human and non-human (for example, the sound of trees and human speech). But this is neither a rejection of the human, nor a rejection of the relationship. The essence of the concept of an autistic vision is in the perception of the textures of the world without discrimination. This co-presence with the field-becoming, attentiveness to the desires of this field, uncertainty in where the body begins and ends, where the boundary and the difference between imagination and experience is. Although the mentioned authors describe perception by people with ASD, they emphasize that neurotypical people also have this regime, but they often ignore or downplay its role [20]. […]
Similar descriptions of body, though seemingly less radical but applied to the description of the dancing body, can be found in Jose Gil’s article. His concept of “the space of the body” is the skin stretched out in space, the skin turning into space, creating an extreme closeness of things and the body. Gil observes the similarity in how an actor transforms the scenic space or a gymnast prolongs space that comes into contact with his skin – with bars, mats and surfaces that he steps on, creating relationship of complicity as intimate as the one he has with his own body. In all these cases a new space arises, which Gil calls “the space of the body”. Such extensions of the body are described by media-theoreticians, but Gil inverts this attitude: not media expands body, but the space of the body finds its new boundaries in media or any other extensions.
By fitting this concept into dance tradition and referring to mentioning of such concepts in the history of dance, he criticizes those who “... conceived the space of the body as an egg or as a sphere. But all describe it as a lived experience of the dancer, who feels himself moving within a kind of container that supports movement” [21]. Gil’s speculations are in tune with how Manning refuses the concept of the skin as a container that establishes a clear boundary between the inner and the outer, in which the interaction is understood as the meeting of two closed objects-human-to-human, human-to-object. Instead, Manning suggests putting the attitude in the center as a manifestation of the third space for use. This third space or interval is not limited to interactions. Attitude puts experience in it in such a way that in it there is something more than the sum of the parts. This line is reminiscent of the description of the “atmosphere” by professor of aesthetics, Gernot Böhme: “atmosphere” is the result of a communication between the viewer and the space. It appears between the subject and the object, and in this sense is the medium and the center of communication [22]. […]
“Reaching-toward”, according to Manning, is the basis of experience-with world, the process of overcoming strata-strata, both actual and virtual. In this process, the sight becomes a touch. “Tactile” vision, feeling with the eyes, describes Laura Marks, for which she suggests using the notion of “haptical” [23]: the haptical does not oppose the optical; rather, they are wrapped in each other. Tactile interaction primarily implies a moving relationship with the world, or with the “surrounding world” as Gibson describes it in the “ecological approach” – at arm’s length. In the work “Touch. Sensuous Theory and Multisensory Media” Marx describes contact with an image or event as follows: its fabric unfolds revealing a larger surface for experience [24]. But if Marx focuses on skin, for Manning everything happens not on the skin and not in the body, but through the abstract and material layers, I form into the assemblage of the feeling body in motion.
In a similar way, we can describe this process in terms of the multiple body by Mol: “The body is not a clearly defined whole: it is not closed, but has semipermeable boundaries. […] these active bodies are not insulated. On the contrary, their boundaries are vague. They interact and sometimes partially merge with the environment” [25]. According to Maul the paradigmatic activity of the body-in-action is not observation, but metabolism. The boundaries of the metabolic body are semipermeable – the line between the inner and the outer is not stable: Gilles describes gradual disappearance of the inner in the dance. Everything now happens horizontally: the formation of matter-body-skin transforms it into a body-without-organs, where intense affect is circulating.
2.2 Image occuring at the boundaries
The space of the body described by Gil is the first natural prosthetics of the body: the body extends itself in space, and thus creates a new body – a virtual one, but that is ready to become actual and accessible in reality. According to Mark B. N. Hansen, the body is an interface for virtual and plays a key role in the transition from virtual to physical sphere [26]. According to Gil it is not the media that expands the body, but the space of the body is something that finds its borders in the media [27]. The virtual body finds itself the moment the subject is forced to withdraw into himself: the overcoming of any subjective object into a bodily form. This happens, for example, in a dream: virtual images of dreams that are not related to the material world are not just psychic objects – in a dream imagination and the body form a unity, an indivisible and inorganic corporeality [28].
In dance an image appears as a virtual potency of the body. The space of the body “results from a kind of secretion or reversal (whose process we will have to clarify) of the inner space of the body toward the exterior” [29]. According to Coccia, images are outside our consciousness, they inhabite external world: any image is a being of knowledge acting outside the subject, an actualization of a sensation that occurs outside the organ of perception. Image is rhizomatic – it grows outward to embrace the externa: to socialize the image means to make it sensible, to bring the image out of its own psychic boundaries [30].
Gil attributes two functions to the space of the body: it augments the movement’s fluency by creating a proper milieu with the least amount of viscosity possible; and allows to place virtual bodies that increase the number of viewpoints of the dancer. But these virtual bodies are not fake doppelgangers which distract us from reality, on the contrary, they are the place of generation of images – media between reality and man [31]. At the same time, they do not separate the body and the environment, but on the contrary, they remove the distance: more media – more reality. Despite the fact that images do not allow access to the world, they are the only way we have. To fight images means to struggle with reality, therefore iconophile is more constructive than the iconoclast: iconophile slides along the cascade of images and does not resist them, he thus approaches the media, and, therefore, approaches reality [32].
Massumi argues that imagination helps to cope with the uncertainty of the virtual: “Imagination is the mode of thought most precisely suited to the differentiating vagueness of the virtual” [33]. The particularity of imaginary is that it is immaterial and not visualizable, but it can get in touch with visual, however, not as a representation, but as something generative, productive: it does not refer to fiction or simulation. […]
2.3. Cartographies of perception
Massumi, within the framework of speculative pragmatism, describes the connection between thinking and vision and movement, he calls thinking-feeling. There is no difference between feeling and thought: when they come close to each other and are difficult to differentiate. He describes virtual in connection with thinking and acting the following way: “Aspirations are directed towards plenty of goals, most of which are virtual. The direction of the momentum of the desire for a virtual goal is palpable at every moment. This means that in every perception there is a vague but persistent awareness of another outcome. This vague consciousness, аn embracing atmosphere that qualifies the overall feel, which English philosopher Alfred N. Whitehead called “affective tonality”. Insofar as the combination of alternative ways of development of events is experienced, “affective tonality” can be regarded as a form of thinking. But this is the thinking that comes in perception” [34].
The continuity between thinking and acting is described in the article by the canadian theorist Delvin Russell [35]. Intention, according to him, is not a mental state, but an action at a certain stage of development. A familiar action, being not new, is already on the map in the brain, consciousness is included only when it is necessary to re-imagine it [36]. Dance creates new cartography in the brain. Gil describes how such “maps” work the following way: “Before the mirror, the student learns how a certain position of limbs corresponds to a certain kinesthetic tension, thus constructing a kind of interior map of those movements that will allow him to move in a precise manner, but without having to take recourse to an exterior image of the body” [37]. The map of movements wraps the outer space into the inner space and backwards. Tim Ingold emphasises that map originally is not a product of observation and measurement, but a model for (not of) the phenomenal world. Comparing the walk on the ground with a walk in imagination, he concludes that the imagination landscapes and the physical environment run into one another to the extent of being barely distinguishable. Writing is the trampling of new paths in the landscape of imagination, and reading is to travel through that terrain with the author as a guide [38]. Walks of the imagination of a dancer – his aspirations, actions, thinking-feelings – are the microchoreographies that form the environment to which the viewer can connect, following the paths laid by such choreography. Ana Vujanovic, in her article in Post-Dance collection of texts, describes performance in which the viewer does not see any movement or body, but hears a lot of sounds, and the dance arises directly in her or his imagination. The triggers of the dance are intentionally weak in order to open up for not-only-rational cognition: she uses weak indications, loose anchors of perception, provisional stimuli, and words that offer resonance of their sound rather than meaning [39]. […]
Chapter 3. Practicing the body
How do choreographers and dancers work with the body boundaries practically? As choreography abandons rational disciplinary structures, it tends to flat, rhizomatic concepts. Milla Tiainen, Katve-Kaisa Kontturi and Ilona Hongisto offer strategies that grew out of the ideas of a new materialism, active agent and affective matter: “framing”, “following”, “middling” [40].
“Framing” is almost directly answers the question of how to draw new boundaries. Framing is an act of territorialization, which focuses attention not on artistic work as such, but on networks of relationships. “Art is a territorial praxis – the drawing of boundaries. Framing encloses bodies, places and sounds within a territory in such a fashion that they become expressive of immeasurable dimensions and indeterminate forces” [41]. The philosopher Elizabeth Groz sums it up as following: “With no frame or boundary there can be no territory, and without territory there may be objects or things but not qualities that can become expressive, that can intensify and transform living bodies.” [42]
“Following” is another practice that can be used by a choreographer and it can be defined as attention to the quality of experience, following the constant variability of things, desire to let the streams flow without straightening them into a line [43].
Associated with the transformation of perception, “middling” is the practice of changing focus. It can be used to avoid automatic categorization of the perceived. This perception mode is related to the concepts of “environmental awareness” offered by Manning and Massumi [44]. […]
Kirsi Monni, professor in Choreography at the Theatre Academy of the University of the Arts Helsinki and director of the MA program in choreography, offers these concepts to her students. Many of them develop the concepts of Deleuze and Guattari, Karen Barad, Rosi Braidotti, Erin Manning, Jane Bennet and others in their choreographic practice.
For example, Sara Gurevitsch, a graduate of the program, while working on her “Dry Storm” performance brings forward relativities that are already there in the materials and in the performers: “It’s starting point was a constant change brought by the information and the being under influence of non-material things” [45]. The practices that she uses to actualize these connections, as she said, are repelled from the interest in the isomorphism of electricity and nervous system, the way the tremor passes through all of the areas of the body: “I wanted to compress the constantly present tremor of the body and to warm it up to be more porous. At the same time the perception of the self and space is being warmed up ” [46].
Another graduate Jenni-Elina von Bagh works with the body-becoming based on the concepts of Deleuze and Manning and uses both somatic impulses and semantic links as a means of composition. In her working process on the performance “Nomadic Melodrama” she used “framing” as an instrument: she constantly changed places and conditions of the rehearsal, placing already developed choreography into different contexts [47]. […]
How body is assembled in local russian contemporary dance context? What kind of body do contemporary dance choreographers perform: body-object, subject-body or body-we-do? We will try to consider the practices in which it is done.
In the description of the hypoglycemic body, Mol points to a constant transition between the body-object (measuring blood sugar level) and the subject-body (self-awareness): “in the day-to-day handling (or avoiding) of hypoglycaemia, self-awareness is at least as important as measuring” [48]. Mol describes the combination of the body-object and subject-body in the treatment of hypoglycemia: “...from the ethnographer’s point of view the most interesting relation between objectivity and subjectivity comes with the use of measurement machines to train inner sensitivity. In training programmes people are told to guess their blood sugar levels first, before they measure them. The object is not to turn them into accurate number-guessers, but to encourage them to stop whatever they are doing in order to feel their bodies from inside. It is to seduce them into practising self-awareness” [49]. The dancers obviously have similar practice of self-awareness in their working with the body, its sensations, their attention. Routine of a contemporary dancer is aimed at entering the “performative state” by managing focus of attention. This “performative state” is exactly the practice of self- and environment-awareness. “Action” project can be a good example of it. The project was initiated by the russian choreographer Alexandra Konnikova in May 2014 and is still on – the practice of performing unplanned actions: “Action is the main theme and the main character of the performance. Performers dance, talk, sing, move, manipulate objects. The story with many lines appears by itself in real time and can be read in many ways”. The action freed from thought and reason: “Performers do not know what will happen, but at every moment they organize the action based on the method and rules” [50]. It resembles the example of a fire alarm given by Massumi. There is a direct connection between the fire alarm as sign and the physiological response. We don’t think about how to respond to the fire alarm. One’s body is just set in motion. It’s a reflex, probably at the primitive, “reptile brain” level. This makes sense because in the event of an actual emergency like being caught in a fire, there is no time to think, and even less time to discuss the issue. The difference between responding to a sign of current danger (fire alarm) and responding to a sign for future danger (terrorism) is that preemptive action is always right because of the double conditional. A person responds to a fire alarm because the fire alarm resonates with the body, or the human sensorium–the sum of an organism’s perception; in other words, the human sensorium has resonance capability; the fire alarm irritates the sensorium, setting the body in motion. Some events resonate with the human sensorium and some don’t. For instance, only a limited range of frequencies of sound and light register/resonate. Preemptive logic, according to Massumi, is not like normative logic. The rule of noncontradiction doesn’t apply.
Because it operates on an affective register and inhabits a nonlinear time operating recursively between the present and the future, preemptive logic is not subject to the same rules of noncontradiction as normative logic, which privileges a linear causality from the past to the present and is reluctant to attribute an effective reality to futurity [51]. The “Action” offers new experimental re-assemblages of bodies and, as actions are unplanned and not socially reasoned, the method itself can be productively rethought within everyday strategies. […]
Another example of thinking-feeling can be revealed in the work “Sensuality elective” of the “Isadorino gore” dance cooperative. According to the annotation, “Sensuality elective” is a space of choice of an experience, conscious or accidental. The objective of the performance is to immerse into the experience of sensuality of the female body. Long-term laboratory precedes the performance, dedicated to work with sensations at different levels: skin, muscles and bones. The scenes are cut, as if in movies, and based on choreography of sensations: dancers focus on their experiences and sensations here-and-now, rather than repeat movements learned beforehand. Choreography takes place at micro levels: the transition of attention from the perception of the environment to the sensations of the body or their combination. This is akin to the description of rearrangement of the internal space of the body outside made by José Gil. The focus on movement-sensation provides the quality of movement and activity of the viewer, which also perceives them at non-rational level: when the subject sees someone performing, an impulse is activated in the muscles (the same as in the half-second rule before the conscious decision to do something).
Some viewers of the “Sensuality Elective” emphasize the “closeness” of the work: since the dancer is focused on her own feelings, the viewer does not seem to be needed there. But the work demands viewer’s attention differently: it mirrors male-gaze considering female body as an object and forces it to be perceived at another level. This is similar with what Vujanovic says about post-dance: post-dance is feminist because it eludes western, male, white, hetero-rationality. There is no innocent bystanders. The model of spectator perception is more similar to the ideas about the spread of the plague in the Middle Ages: to gaze means to be affected, observation is the cause of the infection. In this sense, post-dance is inaccessible to the gaze (to the panoptic view) as a neutral and safe experience of interaction. […]
The question of how the body is being done and how choreographer works with cultural and material layers is developed by choreographer Tatiana Gordeeva and playwright Ekaterina Bondarenko in the performance “Stopping by Woods on a Snowy Evening”. A performance in a form of a report on architecture unites conceptual tension and corporeality. The body and architecture are juxtaposed, recalling Spångberg’s notable remark on the way architects are afraid of open space and therefore divide it into small closed ones, the choreographer is afraid of movement and therefore seeks for organizing and choreographing it. According to one of the reviews: “The main issue of the research is the body in the city, the body and the city norms restricting it” [52]. The text in the performance brochure includes the story of its preparation: according to the artists, before the show in Meyerhold Center, they carefully investigated both the architecture of the building and the bodies inhabiting it: they offered various dance and somatic practices to the theater staff. The performance shows how working with bodies can be combined with the reconstitution of social spaces: “The space that gave rise to a whole series of texts and movements is now endowed with properties that were heard and seen during the performance. And as for a performance by situationists’ method (on a map of one city to walk on another) we can explore spaces so we can now transfer the sensation of Meyerhold Center to another locus. The contours of the buildings will not change but the human dimension will definitely do” [53].
The creators of the “Stopping by Woods on a Snowy Evening” put the naked body in the scientific context – it is objectified, but as an object of science. A naked body, as in the work of Mette Ingvartsen, becomes a surface onto which cultural and symbolic objects are projected: it is speckled with inscriptions, the performers draw marks on each other’s skin as they want to change it in their body. So, Tatiana Gordeeva would like to get a deflection line in the spine (lordosis) – it disappeared because of the ballet training – a cultural trail imprinted on the body that draws the borders of the body that once was made. Instead of presenting her trained ballet dancer’s body, Tatiana redefines her body by actions in accordance with her own perspective, being against the disciplinary practice that left the imprint on her body, thus continues to create it.
Conclusion
Microchoreographies are choreographies that deal with the virtual as a space of possibilities, so the (micro)choreographer’s task is to create an environment for the emergence of space for a virtual experience, adopting cybernetic information theories, systems theory and environmental philosophy, and to rethink the role of the viewer as a part of this system: observation does not guarantee the viewer as an innocent bystander, but on the contrary, makes the viewer an active subject and co-author of the experience. This active perception affects the materiality and generates new spaces.
The environment is managed by affects – social coverings staining on performer’s bodies, overlaying with their virtual bodies, and being autonomous and interpersonal, generate particular relations and processes within the environment.
The finnish master for choreography case demonstrates various ways of working with observed conceptions. It is remarkable that the art program appropriates academic theory translating it to the praxis, methods which can be used both within contemporary dance and outside of it. As we saw earlier, russian contemporary dance also contains examples of creating new practices that shift bodily borders and thus constitute them anew. The “Action” project demonstrates experimental body reassemblings, things-bodies-sounds and actions constellations which would be interesting to apply to everyday life. The “Sensuality elective” demonstrates the microchoreography of sensations — a strategy of working with one’s own surface giving a woman back her alienated body.
The mission of post-dance today is to expand the sphere of knowledge that is habitually understood as a storage of rational cognitive practices. By opening dance practice to everything that does not concern rational thinking, we can reclaim the sphere of sensual, sensorimotor life buried under rationality and meanings. Consciousness, as we imagine it now, restrains the imagination that could be primary in defining the individual.
Today, from the era of rationality, we move on to the era of culturalization. This trend is named and described as the “era of the inner” by sociologist Gerhard Schulze [54]. “The experience society” generates strategies for maximizing impressions: a good life is an intense and exciting life, but at the same time it makes us regret lost possibilities and fear missing out. Affective capitalism parasitizes on our feelings, movements and becomings and turns out to be even more powerful than bio-power. Affect choreography is a way to handle experience. What is important here is not a complete rejection of conceptuality, but rather a conceptual work and attention to the sensual aspects of cognitive experience. Affect is a territory on the other side of the distinction between thinking and action that violates usual conventions.
By destroying conventional choreographies and putting the perspective of corporeal cognition into our private horizon, we regain our bodies. Microchoreographies, that can be integrated into everyday life as an instrument of active and generative attention, do not demand us to become dancers. They rather indicate that we all are already dancers and choreographers able to manage our microchoreographies. The path to this idea has been actively made by the dance since the 1970s. The most basic unit of the movement, a step, was then seen as the most democratic practice of social choreography, accessible to almost everyone, so it became the paradigm of the “postmodern dance”: “Can this everyday practice — walking — be turned around into a process which goes beyond the ordinary?” [55]. Post-dance goes further by turning perception into a practice that correlates with current state of radical culturalization of material world, when the “cultural” ceases to be a symbolic medium but expands and operates in the field of our perceptual practices and becomes a resource instead of a norm.
[17] Гибсон Дж. Дж. (1988) Экологический подход к зрительному восприятию. М.: Прогресс
[18] ibid
[19] Marks L. U. (2008) Thinking Multisensory Culture // Edinburgh University Press. Paragraph, Volume 31, Number 2, July
[20] Massumi B., Manning E. (2013) Coming Alive in a World of Texture // Dance politics & co-immunity (Eds.) Siegismund G., Hölscher S. Diaphanes
[21] Gil J. (2006) Paradoxical Body. TDR Vol. 50, No. 4. The MIT Press, pp. 21-35 – русский перевод статьи
[22] Böhme G. (2013) Atmosphäre. Essays zur neuen Ästhetik, Berlin: Suhrkamp
[23] Marks L. U. (2008) Thinking Multisensory Culture // Edinburgh University Press. Paragraph, Volume 31, Number 2, July
[24] ibid
[25] Мол А., Ло Дж. (2017) Воплощенное действие, осуществленные тела: пример гипогликемии // Логос. Том 27. #2
[26] Hansen M. B. N. (2006) Bodies in Code: Interfaces with Digital Media. Routledge,
[27] Gil J. (2006) Paradoxical Body. TDR Vol. 50, No. 4. The MIT Press, pp. 21-35
[28] Coccia E. (2016) Sensible life: a micro-ontology of the image. Fordham University Press
[29] Gil J. (2006) Paradoxical Body. TDR Vol. 50, No. 4. The MIT Press, pp. 21-35
[30] Coccia E. (2016) Sensible life: a micro-ontology of the image. Fordham University Press
[31] Mitchell W.J.T. (2005) What Do Pictures Want. The Lives and Loves of Images-University of Chicago Press
[32] Latour B. (2002) What is Iconoclash? Or is There a World Beyond the Image Wars? // Iconoclash. Beyond the Image Wars in Science, Religion, and Art. Karlsruhe: ZKM
[33] Massumi B., Manning E. (2013) Coming Alive in a World of Texture // Dance politics & co-immunity (Eds.) Siegismund G., Hölscher S. Diaphane
[34] Массуми, Б. (2015) «Будущее нужно активно изобретать»: философ Брайан Массуми об эволюции ризомы и спекулятивном прагматизме [Интервью Нины Сосны с Брайаном Массуми] // Теории и практики 12.08.2015 – https://theoryandpractice.ru/posts/8115-rizoma-massumi
[35] Russell, D. (2017) Intention as action under development: why intention is not a mental state // Canadian Journal of Philosophy
[36] Damasio A. (2000) The Feeling of What Happens: Body and Emotion in the Making of Consciousness, New York: Mariner Books
[37] Gil J. (2006) Paradoxical Body. TDR Vol. 50, No. 4. The MIT Press, pp. 21-35
[38] Ingold, T. (2010) Ways of mind-walking: reading, writing, painting // Visual Studies, 25: 1, pp. 15-23. Routledge
[39] Vujanovic A. (2017) A Late Night Theory of Post-Dance, a selfinterview // Post-dance. (Eds.) Andersson D., Edvarsdsen M., Spångberg M. MDT: Stockholm, pp. 44-67
[40] Tiainen M., Kontturi K-K., Hongisto I. (Eds.) (2015) Framing, Followig, Middling, Towars Methodologies of Relational Materialities // Cultural Studies Review, volume 21, number 2, pp. 14–46
[41] ibid
[42] Grosz E. (2008) Chaos, Territory, Art: Deleuze and the Framing of the Earth, Columbia University Press, New York
[43] Tiainen M., Kontturi K-K., Hongisto I. (Eds.) (2015) Framing, Followig, Middling, Towars Methodologies of Relational Materialities // Cultural Studies Review, volume 21, number 2, pp. 14–46
[44] Massumi B., Manning E. (2013) Coming Alive in a World of Texture // Dance politics & co-immunity (Eds.) Siegismund G., Hölscher S. Diaphanes
[45] Gurevitsch S. (2018) // Interview on Sara in the Art University’s IssueX magazine – [интервью с Сарой на сайте образовательной программы] // (http://www.uniarts.fi/en/newsroom/thesis-projects-choreography-presented-zodiak-35-kl-17)
[46] ibid
[47] Von Bahg J-E. (2018) Choreographing in Nomadic Traces. MA theses of the MA in Choreography Programme in the University of the Arts, Helsinki
[48] Мол А., Ло Дж. (2017) Воплощенное действие, осуществленные тела: пример гипогликемии // Логос. Том 27. #2
[49] ibid
[50] Конникова А. (2015) [Описание лаборатории-спектакля “Действие”] // сайт проекта (http://projectaction.ru/intro)
[51 RUS] Массуми, Б. (2015) «Будущее нужно активно изобретать»: философ Брайан Массуми об эволюции ризомы и спекулятивном прагматизме [Интервью Нины Сосны с Брайаном Массуми] // Теории и практики 12.08.2015 (https://theoryandpractice.ru/posts/8115-rizoma-massumi)
[51 ENG] Massumi B. (2010) The Future Birth of the Affective Fact: The Political Ontology of Threat
[52] Гордиенко Е. (2017) Архитекторы тела // Журнал “Театр” (http://oteatre.info/arhitektory-tela)
[53] ibid
[54] Schulze, G. (2015) The coming of the intrinsic age // Socioaesthetics: Ambience – Imaginary (Eds.) Anders Michelsen, Frederik Tygstrup, BRILL
[55] Brandstetter G. (2000) Choreography As a Cenotaph: The Memory of Movement // ReMembering the body (Eds.) Gabriele Brandstetter; Hortensia Völckers; Bruce Mau; André Lepecki. New York: Ostfildern-Ruit