Machine generated contents note: ACT 1
1. Autoethnography as a Methodological and Ideological Starting Point
Will the artist please stand up?
Choreographic organization
2. The Hypothesis Explained
Theory, perception, process and practice
Embodiment and disembodiment
Science, art, culture and the transdisciplinary mandate
Movement, language and non-discursive thinking
3. Further Presuppositions and Explorations in Search of a Theory of Practice
Revisiting the hypothesis
The futurist/humanist condition
Re-cognizing/re-membering
Scales and dimensions, movement and sound
Performing art, performing science, transdisciplinary approaches to performance
Significant contributions
Choreography as transdisciplinary Practice-as-Research
The Touched Project: Organization, control and emergence in choreographed performance systems
Embodied choreographic knowing
6. Going West to Find East
Choreographing from the underside
Haikai, Encounters and Here Be Dragons (Stage I Creative Preview)
A barca: Reaching back to go forward
Multiple presences: Movement through space/time holes
The real and the virtual, reality and the dream
Performing the self: Movement as an unfolding and initiating of thought
An Epilogue: Fitting [Out-fitting] In
Who is he fooling and what is he really doing there?
Who am I and why am I here?
So, what's your background?
Where are you from? I mean, where are you really from?
Oh! You're a Professor? What do you teach?
Appendix A Artisitic Works by the Author
Multi-year research projects referenced
Short-term stand-alone works mentioned
