For almost 200 years the University College of Physical Education and Sports in Stockholm (former Royal Central Institute of Gymnastics; GCI later GIH; Stockholm College of Physical Education and Sports) has been educating PE teachers - and still does. In the very beginning and throughout the first 100 years, gymnastics was a major part of the studies at the institute, and also in ordinary schools. Early gymnastics were invented by Per Henrik Ling, the father of the Swedish Ling gymnastics, and later developed by his son, Hjalmar Ling. The part of the Ling system called pedagogical gymnastics, consisted of “daily gymnastic training exercises”, which showed how gymnastics should be taught and performed. The aim of this thesis is to follow and describe gymnastics as a subject and its development at the PE teacher-training programme at GCI/GIH. Special attention is placed on the movement part without apparatus (the floor exercise) for male and female students. The time period studied is 1944 to 1992. The thesis consists of two separate empirical studies, with a shared interview study of 12 former teacher educators participating in both studies. Besides the above-mentioned interviews, the methods used are document analyses and visual analyses. Triangulation is used in order to follow the changes of the subject’s content, figuration and representation. The first empirical study investigates the institution of gymnastics’- collective memory, its content and legitimacy. This is done by looking at what time was allotted to the subject in relation to other subjects, and also which concepts were used in relation to floor exercise. The interviews deal with the objectives of the subject and what kind of influences the former teacher educators came in contact with. From a semiotic approach, the second study deals with visual analyses of film sequences, with floor exercises performed by male and female students. (See enclosed CD). The film material comes from the Institute’s events. The content and composition of the film sequences are analysed, and the representation of the movements is interpreted by semiotic discourse analyses. The interview study deals with the former teacher educators’ pedagogical view of the formation of the gymnastics. The results show that in 1944 the subject gymnastics took approximately 40% of the total study time. In 1992 the time allocated for gymnastics has been reduced to approximately 9%. From the 1940s to the 1970s, two separate gymnastics discourses existed, one male and one female, expressed in the movement content and in the figuration of movements. The male discourse was maintained almost intact, without any changes. The female discourse, on the other hand, was continually changed and developed over the actual period of time, strongly influenced by rhythmic and dance. When coeducation was implemented in the late 1970s, a new culture of body movements was developed – which was unisex. Between 1949 and1970 in the film material, the masculine discourse was represented by the body image of a systematically trained and disciplined body, executing corrective gymnastics exercises, according to an instrumental way of looking at physical training. The smooth, healthy looking young body image of a woman, executing rhythmical aesthetical gymnastics, according to existing values, characterised the feminine discourse. There seems to have been aesthetics fostering rationality that ruled the female gymnastics. In 1985 the representation of the body image changed, and focus on the performance of the movements disappeared. The objectives of the subject have changed from the collective, corrective and/or aesthetical form of gymnastics to a gymnastic discourse where the attention of simplifying the movements, the individual and the social climate in the group are central. Finally, the findings show that four factors have influenced the changes and development of the subject and the teacher-training programme. Firstly, changes in society in terms of equality, gender roles and a changed role of the PE teacher. Secondly, the impact of the sport discourse outweighed the status of the gymnastics discourse and its legitimacy. The cultivating values, in terms of the aesthetical schooling for the female students, disappeared. Thirdly, the striving for research-related instructions in the teachertraining programme, (urged by the state from 1977) affected both time allotments for gymnastics and sports and the relation between theoretical and practical courses. Finally, over the years, the subject gymnastics has been strongly influenced by different scientific discourses: first the medical discourse, followed by the physiological discourse and from the1980s and on, by the social scientific (pedagogical) discourse.

肢體動作是情緒表達的方式之一，本研究旨在探討表達情緒時，表達者「動作特性」及「身體方向」對肢體動作情緒表達的影響，及其二者的關係。參考過去研究，本研究使用生氣、害怕、開心及悲傷四種情緒的肢體動作，並操弄平滑度、僵硬度、速度、力道及擴張度五種動作特性；0°、45°、90°三種身體方向，並且以正確率、反應時間及情緒強度作為指標，進行區辨作業及評分作業。本研究共分兩個實驗，每個實驗皆由兩個子實驗構成，兩個子實驗分別使用「一般動作」及「特殊動作」作為呈現刺激。實驗一目的在於探討「動作特性」對情緒表達的影響；實驗二目的在於探討「動作特性」和「身體方向」共同對情緒表達的影響。實驗一A使用一般動作並操弄五種動作特性，藉此得到各情緒的動作特性組合；實驗一B使用特殊動作並操弄動作特性相容性，結果顯示動作特性相容性確實有其效果，相容情況的情緒強度高於不相容情況。實驗二A、二B分別使用一般動作及特殊動作，並操弄五種動作特性及三種身體方向，結果顯示當身體方向符合情緒的趨避動機時，其正確率、反應時間及情緒強度的表現皆較好。综合而言，「動作特性」及「身體方向」在肢體動作表達情緒時確實有其效果，當動作特性相容時，可增進情緒表達力；當身體方向符合該情緒的趨避動機時，也可增進情緒表達力，但動作特性及身體方向二者間的關係為何，本研究仍無法下一定論。 關鍵字：情緒表達、趨避動機、肢體動作、動作特性、身體方向 / Abstract Body movement is one of the ways to express emotion. The purpose of this study is to explore the effects of movement quality and body direction on the emotion expressiveness of body movement. Referring to some previous studies, four kinds of emotion (anger, fear, happiness and sadness) were included in the present study. Five movement qualities (smoothness, stiffness, speed, strength and expansion) and three body directions (0°, 45° and 90°) were manipulated as the independent variables. Response accuracy and reaction times of an identification task and rating scores of the emotion rating task were measured as the dependent variables. There are two experiments in this study which includes two sub-experiments each. One of the sub-experiments adopted non-propositional body movements as stimuli (Experiment 1A & 2A), and the other adopted propositional body movements as stimuli (Experiment 1B & 2B). Experiment 1 aimed to explore the effect of movement qualities. In Experiment 1A, movement quality combinations which can express each of the four emotions were found. Based on this result, in Experiment 1B, movement quality compatibility was manipulated. The results of Experiment 1B confirmed the effect of movement quality compatibility on emotion strength in non-propositional body movement. Experiment 2 manipulated five movement qualities and three body directions. The results showed that when body direction was compatible with the approach-avoidance motivation of the expressed emotion, participant’s performances on response accuracy, reaction times and rating scores were better than that of incompatible ones. In conclusion, both movement quality and body direction can influence the emotion expressiveness of body movement. When movement qualities and body directions are compatible with the expressed emotion, the strength of emotion can be increased. But the relative contributions and the interaction effect of movement qualities and body directions are still unclear. Keywords: emotion expression, approach-avoidance motivation, body movement, movement quality, body direction

Le corps humain et les vêtements sont toujours en interaction directe avec l’environnement, le corps devant maintenir sa température à environ 37°C. Les transferts de chaleur sont affectés non seulement par les propriétés de l’étoffe constitutives du vêtement, mais également par l’épaisseur de la couche d’air entre le corps et le vêtement. Les propriétés thermiques de la couche d’air dépendent de son étendue, influencée par les courbures du corps humain, des propriétés mécaniques de l’étoffe et de la forme du vêtement. Il est donc nécessaire de déterminer la forme 3D du corps et la répartition, l’étendue et l’épaisseur de la couche d’air ainsi que les zones de contact entre la peau et le vêtement dans des conditions posturales de la vie courante. Dans la présente étude, l’influence thermique de couches d’air homogènes (épaisseur constante) et hétérogènes (épaisseur variable) a été montrée. De plus, la distribution des couches d’air et de l’aire de contact réelle a été analysée minutieusement. L’influence des conditions posturales (à l’aide d’un mannequin) et du mouvement (à l’aide d’un logiciel de simulation de mouvement) a été étudiée dans différents cas. Une méthode de post-traitement des données provenant du logiciel de simulation 3D de mouvement a alors été mise au point. Les résultats montrent que le niveau de confort peut être ajusté en sélectionnant l’étoffe et la forme du vêtement et que cela dépend de la région du corps. La connaissance issue de cette étude sera directement utilisée en modélisation des transferts de chaleur au travers des vêtements et contribue à l’amélioration de la conception des vêtements pour la protection ou la pratique sportive. / In real life, human body and clothing are always in direct interaction with environment, where human body attempts to keep its core temperature constant at around 37 °C by physiological thermoregulatory processes. The heat transfer from the wearer’s body to the environment is affected not only by the fabric properties but also by the presence of air layers and the contact between body and garment. The thermal properties of air layer are related to its size, which in turn, depends on the form of the wearer’s body, mechanical properties of fabric and garment design. Therefore, it is necessary to determine the three dimensional (3D) map and the quantitatively determination of air layers and contact area on the garment in real life situations, such as for various body postures and movement. In the present study, a comparison of the thermal effect of the heterogeneous and homogeneous air layers was sought. Additionally, the distribution of air layers and the contact area for lower body garments were analysed systematically. The effect of various body posture and movement on sought parameters was investigated. Moreover, new method was introduced to post-process the sought parameters for the ready output from 3D simulation software. Consequently, the results of this study indicated that the comfort level of the human body can be adjusted by selection of fabric type and the design of ease allowances in the garment depending on the body region and given purpose. The knowledge gained in this study will be directly used in modelling of the dry and latent heat transfer through garment and contribute to the improvement of clothing design for protective and active sport garments.

Byggindustrin är idag en av våra mest olycksdrabbade branscher i Sverige sett tillantalet sysselsatta inom branschen. Olycksfrekvensen ligger idag kring 11/1000sysselsatta och år. Statistiken visar att byggindustrin har fler sjukskrivningar på grundav olyckor än andra branscher, vilket givetvis leder till större utgifter i förhållande tillde andra på denna punkt. Ett sätt att öka intresset för säkerhet och arbetsmiljöfrågorinom byggverksamheten kan vara att undersöka de ekonomiska aspekterna. Det ärtydligt att sjukskrivningar är en stor kostnad för byggföretagen men finns det egentligennågon motsättning mellan lönsamhet och säkerhet?Syftet med studien är att undersöka kopplingen mellan arbetsmiljöarbete,sjukskrivningar och kostnader inom byggsektorn. Studien utförs för att kunna ge enoberoende rekommendation på vilka åtgärder inom arbetsmiljö och säkerhet som kanminska antalet sjukskrivningar på grund av arbetsolyckor. Tanken är att undersökavilka olyckor som bidrar till flest sjukdagar och därmed störst kostnader för företagen,samt se vilka grundorsaker som går att förknippa med dessaStudien tar endast upp sjukskrivningar där bakomliggande orsak är en arbetsolycka.Det innebär att arbetssjukdommar orsakat av arbetshygieniska förhållanden intekommer att beaktas. Detta för att begränsa studien till den typ av olyckor inombyggindustrin som bidrar till flest sjukskrivningar.Undersökningen har gjorts i form av en omvärldsanalys med avsikt att samlainformation och kartlägga ämnet. Information och statistik i detta arbete har i störstamöjliga mån baserats på vetenskapligt säkerhetsställd litteratur ochmyndighetsinformation. Rapporten baseras i stor del på den nuägesbeskrivning sompresenteras i kapitel 4 som redogör bakgrund och den nuvarande situationbyggverksamheten befinner sig i när det gäller arbetsmiljöarbete, olycksstatiastik samtorsaker och kostnader för sjukskrivningar vid arbetsolyckor. I kapitel 3 presenteras denlagstiftning som i Sverige ligger till grund för arbetsmiljöarbete.I denna studie har olika undersökningar kombinerats för att få fram ett resultat på hurmycket sjukskrivningar, orsakade av arbetsolyckor, kostar. Kostnaderna baseras påarbetsmiljöverkets och försäkringskassans olycksfallstatistik samt försäkringskassanskalkylunderlag för sjukskrivning [25]. För att uppskatta kostnader för olika typer avolycksfall, undersöks hur många sjukdagar de fem vanligaste orsakerna bidrar med. Detvisar sig att den sjukskrivningskategori som kostar arbetsgivaren mest är fall från höjdoch att de åtgärder som enligt många studier förebygger detta är att ha en städadarbetsplats.Slutligen kan det konstateras att det finns kopplingar mellan arbetsplatsolyckor,sjukskrivningar och kostnader för företag inom byggsektorn. Det finns även åtgärdersom kan ge effekt på minskade sjukskrivningar, exempelvis städning och information.Utöver detta pekas även projektering ut som en punkt där anpassningar förarbetsmiljön kan göras och på så vis minska sjukskrivningar och öka lönsamheten hosföretagen. / The construction industry is one of our most injurious industries in Sweden today. Theaccident frequency currently lies around 11 per 1000 employees per year. Statistics showthat the construction industry has more sick leave due to accidents than other business,which of course leads to larger cost in relation to others industrial branches in this area.One way to increase the interest in safety and work environment issues in theconstruction industry can be to examine the economical aspects. It is clear that sickleave is a big cost for construction companies, but is there really any contradictionbetween profitability and safety?The purpose of this study is to investigate the connection between work environmentand profitability for companies in the construction sector. The study is carried out inorder to give an independent recommendation on which measures within workenvironment and safety that could be used to reduce the number of sick leave occasionsdue to work accidents. The idea is to investigate which accidents contribute to the mostsick days, and to see which root causes that could be associated with these accidents.The study only addresses sick leave where the underlying cause is workplace accidents.This means that occupational diseases caused by industrial hygiene conditions will notbe taken into account, this is to limit the study to the section which contributes themost to sick leave in the construction industry .The study has been conducted as an analysis of the surrounding world with theintention of gathering information and mapping out the subject. Information andstatistics in this research have, as far as possible, been based on scientifically securedliterature and government information. The report is largely based on the complieddescription of the current situation presented in chapter 4. This chapter describes thebackground and current situation for the construction industry in regards to legislation,work environment, accident statistics as well as causes and costs for sick leave in theevent of work accidents.In this report, various research has been combined to obtain a result on how much sickleave, caused by occupational accidents, costs. The costs are based on the SwedishWork Environment Authority and the Swedish Social Insurance Agency’s accidentstatistics as well as the Swedish Social Insurance Agency’s calculation basis for sickleave. In order to estimate the costs for different types of accidents, the number of sickdays for the five most common causes of injuries were picked out. It turns out that thecause of accidents that contributes to the highest costs for the employer is fall fromhight. It was also detected that according to many studies, the most efficient way toprevent fall from hight was to have a tidy workplace.Finally, it’s concluded that there are connections between work environment accidents,sick leave and costs for companies within the construction sector. There are alsomeasures that can affect sick leave, for example cleaning and information. Beyondthese, construction design is pointed out as an area where adjustments for the workenvironment can be made and though that reduce sick leave and increase profits for thecompanies.

Le rythme est un aspect important du mouvement et de la perception de l’environnement. Lorsque l’on danse, la pulsation musicale induit une activité neurale oscillatoire qui permet au système nerveux d’anticiper les évènements musicaux à venir. Le système moteur peut alors s’y synchroniser. Cette thèse développe de nouvelles techniques d’investigation des rythmes neuraux non strictement périodiques, tels que ceux qui régulent le tempo naturellement variable de la marche ou la perception rythmes musicaux. Elle étudie des réponses neurales reflétant la discordance entre ce que le système nerveux anticipe et ce qu’il perçoit, et qui sont nécessaire pour adapter la synchronisation de mouvements à un environnement variable. Elle montre aussi comment l’activité neurale évoquée par un rythme musical complexe est renforcée par les mouvements qui y sont synchronisés. Enfin, elle s’intéresse à ces rythmes neuraux chez des patients ayant des troubles de la marche ou de la conscience. / Rhythms are central in human behaviours spanning from locomotion to music performance. In dance, self-sustaining and dynamically adapting neural oscillations entrain to the regular auditory inputs that is the musical beat. This entrainment leads to anticipation of forthcoming sensory events, which in turn allows synchronization of movements to the perceived environment. This dissertation develops novel technical approaches to investigate neural rhythms that are not strictly periodic, such as naturally tempo-varying locomotion movements and rhythms of music. It studies neural responses reflecting the discordance between what the nervous system anticipates and the actual timing of events, and that are critical for synchronizing movements to a changing environment. It also shows how the neural activity elicited by a musical rhythm is shaped by how we move. Finally, it investigates such neural rhythms in patient with gait or consciousness disorders.

Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstand. / The developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage's ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art's techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose.

A constantly growing corpus of interdisciplinary studies support the idea that music is a complex multimodal medium that is experienced not only by means of sounds but also through body movement. From this perspective, musical instruments can be seen as technological objects coupled with a repertoire of performance gestures. This repertoire is part of an ecological knowledge shared by musicians and listeners alike. It is part of the engine that guides musical experience and has a considerable expressive potential. This thesis explores technical and conceptual issues related to the analysis and creative use of music-related body movements in instrumental music performance. The complexity of this subject required an interdisciplinary approach, which includes the review of multiple theoretical accounts, quantitative and qualitative analysis of data collected in motion capture laboratories, the development and implementation of technologies for the interpretation and interactive use of motion data, and the creation of short musical pieces that actively employ the movement of the performers as an expressive musical feature. The theoretical framework is informed by embodied and enactive accounts of music cognition as well as by systematic studies of music-related movement and expressive music performance. The assumption that the movements of a musician are part of a shared knowledge is empirically explored through an experiment aimed at analysing the motion capture data of a violinist performing a selection of short musical excerpts. A group of subjects with no prior experience playing the violin is then asked to mime a performance following the audio excerpts recorded by the violinist. Motion data is recorded, analysed, and compared with the expert’s data. This is done both quantitatively through data analysis xii as well as qualitatively by relating the motion data to other high-level features and structures of the musical excerpts. Solutions to issues regarding capturing and storing movement data and its use in real-time scenarios are proposed. For the interactive use of motion-sensing technologies in music performance, various wearable sensors have been employed, along with different approaches for mapping control data to sound synthesis and signal processing parameters. In particular, novel approaches for the extraction of meaningful features from raw sensor data and the use of machine learning techniques for mapping movement to live electronics are described. To complete the framework, an essential element of this research project is the com- position and performance of études that explore the creative use of body movement in instrumental music from a Practice-as-Research perspective. This works as a test bed for the proposed concepts and techniques. Mapping concepts and technologies are challenged in a scenario constrained by the use of musical instruments, and different mapping ap- proaches are implemented and compared. In addition, techniques for notating movement in the score, and the impact of interactive motion sensor systems in instrumental music practice from the performer’s perspective are discussed. Finally, the chapter concluding the part of the thesis dedicated to practical implementations describes a novel method for mapping movement data to sound synthesis. This technique is based on the analysis of multimodal motion data collected from multiple subjects and its design draws from the theoretical, analytical, and practical works described throughout the dissertation. Overall, the parts and the diverse approaches that constitute this thesis work in synergy, contributing to the ongoing discourses on the study of musical gestures and the design of interactive music systems from multiple angles.

Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstand. / The developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage''s ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art''s techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose.