Esta dissertação faz parte de uma pesquisa poética que abrange produções artísticas em dança. Assim, o corpo contínuo ou algodãozado é apresentado não como um conceito, mas como uma noção que opera construindo obras. Esse termo é uma imagem cunhada no âmbito da produção artística e pedagógica da autora, e procura dar conta de um entendimento de um corpo que não se reduz ao biológico, um corpo que, uma vez experimentado, desdobra-se em imagens, conceitos, palavras, sensações, impossibilitando o encontro com uma realidade última ou com um eu. Esse corpo também se desdobra no espaço, ao qual se entrega, do qual depende e com o qual é dinamicamente formado. Nesse campo de um eu problemático, o ponto de vista em primeira pessoa, a via da escuta das sensações, procura ser uma ferramenta de acesso para que se possa perceber os jogos de poder, de definições de realidade e conceitos, reiterados nas ações corporais, entendidas como idênticas a conceitos e imagens. Como essa experiência não encontra um ponto de fundação, passa a ser entendida como detonadora de um processo de criação permanente, confundindo arte e vida e solicitando ao fazer artístico a responsabilidade por explicitar as convenções que o legitimam, bem como pela proposição de outros modos de fazer. Daí a necessidade de compreender um processo artístico à luz das tradições que informam seus modos de fazer, ou, dito de outra maneira, que lhe subjetivam. No caso desta pesquisa, esta tradição abrange o legado de John Cage e Merce Cunningham, e, mais especificamente, da geração da Judson Church, ou da chamada dança pós-moderna norte-americana dos anos 1960 e 1970, especialmente no que se refere ao uso de técnicas de educação somática proposto como procedimento artístico por esses últimos. As produções artísticas aqui enfocadas – a série Caixas, os desdobramentos do espetáculo Instruções para abrir o corpo em caso de emergência e os procedimentos de falar-fazer – são produzidas por esse entendimento. Ao longo dos anos da pesquisa, o fazer das mesmas foi demandando a complexificação do entendimento do corpo algodãozado, desembocando na própria abordagem da escrita aqui presente como um de seus desdobramentos poéticos. / The present dissertation is one of the results of a research in Poetics, which comprises also artistic Dance productions. The terms Continuous or Cottoned Body are presented not as a concept, but as a perception that develops a work of art. Cottoned Body is an image derived from the author’s Artistic and Educational history, built on the understanding of a body that can’t be reduced to Biology. A body that, once experienced, unfolds into images, concepts, words, sensations, not to be limited to a ultimate reality or a Self. The firstperson point of view, the way of listening to sensation, is an tool to access power games, definitions of reality and concepts, which are reiterated in body actions – herein understood as identical to concepts and images. The foundations of such experience are not attainable, therefore it fosters a permanent creative process, blurring Life and Art, and compelling the Artist to present the conventions that legitimate her Poiesis. Hence the need to comprehend Poiesis in light of the traditions that subject it. In the present research, this traditions can be traced back to the legacy of John Cage and Merce Cunningham, and the Judson Church generation from the 1960s and 1970s. We focus specifically on the use of Somatic Education as a tool for artistic creation by the Judson Church group. The artistic works analyzed in this dissertation (the Caixas series; the developments of Instruções para abrir o corpo em caso de emergência; and the Falar-Fazer procedures) are a result of such comprehension. During the research time, the Poiesis of these works engendered a complexification of the notion of Cottoned Body. This complexification resulted in the narrative approach presented in this dissertation, itself one of its poetic unfoldings.

This dissertation is an inductive synthesis and study of the spirituality of Adoniram Judson. It argues that the center of Judson's spirituality was a heavenly-minded, self-denying submission to the sovereign will of God, which was motivated by an affectionate desire to please Christ, by obeying his final command revealed in the sacred Scriptures. Chapter 2 surveys Judson's life and the historical, theological, and spiritual contexts that formed him. Chapter 3 argues that the foundation of Judson's missionary spirituality was the Bible. His evangelical activism and conversionism grew out of his bibliocentrism. Chapter 4 contends for an all-consuming vision of God's sovereignty in Judson's piety. His submission to God's will affected his view of suffering, duty, and self-denial. Judson's response to his love for God was a self-denying asceticism. Chapter 5 demonstrates that Judson's interpretation of life's events was through the lens of eternity. His heavenly-mindedness permeated his vision for living and dying. Moreover, his eager expectancy of Christ's imminent millennial glory stimulated his evangelical activism. Chapter 6 highlights Judson's dominant spiritual motivation from his early days to his last days: to please Christ. Expressed many times in letters, journals, tracts, and sermons, Judson's supreme desire was to please him. Chapter 7 summarizes the research questions and the thesis, and it analyzes the unique features of Judson's spirituality. This chapter proposes other needed areas of research in the life and spirituality of Adoniram Judson, which were beyond the scope of this dissertation.

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.

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.

[pt] Esta tese de doutorado visa investigar determinados aspectos estéticos e estruturais presentes em produções artísticas que abordam a temática da identidade trans, num atravessamento com questões de raça e classe social. As reflexões teórico-críticas de intelectuais como Paul Preciado e bell hooks fundamentam a discussão acerca dos sistemas de opressão que atuam sobre o convívio dos corpos considerados dissidentes no imaginário de construção, mas também de sua circulação nas cidades. Para isso, esta tese toma um conjunto heterogêneo de figuras monstruosas como a sereia, o anão e o fantasma para questionar as definições de humanidade e a experiência artístico-sensível do exílio através da vivência no processo laboratorial de criação realizado pelo Projeto Genus Radix (numa iniciativa do Museu Nacional Centro de Artes Reina Sofía). No itinerário que atravessou essa pesquisa e esse pesquisador - Argentina, Brasil e Espanha -, atua a metáfora do monstro como um disparador de questões vinculadas à arte e à vida, que instiga a reflexão sobre uma humanidade por vir. As reverberações das histórias dos personagens conceituais e reais elencados nesta pesquisa visam delinear e ressaltar especificidades que corroboram para a construção de uma narrativa estética e/ou performática que suscita a sobrevivência de novas formas de vida num espaço comum. / [es] Esta tesis doctoral tiene como objetivo investigar ciertos aspectos estéticos y estructurales presentes en las producciones artísticas que abordan el tema de la identidad trans, en un cruce con cuestiones de raza y clase social. Las reflexiones teórico-críticas de intelectuales como Paul Preciado y Bell Hooks basan la discusión sobre los sistemas de opresión que actúan ante a la relación de los cuerpos disidentes en el imaginario de las ciudades. Para ello, esta tesis toma un conjunto heterogéneo de “figuras monstruosas” como la sirena, el enano y el fantasma para cuestionar las definiciones de humanidad y la experiencia artístico-sensible del exilio a través del experimentado en el proceso de creación llevado a cabo por el laboratorio del Proyecto Genus Radix (en una iniciativa del Museo Nacional Centro de Artes Reina Sofía). En el itinerario de la investigación y del investigador - Argentina, Brasil y España-, actúa la metáfora del monstruo como detonante de cuestiones relacionadas con el arte y la vida que señalan una humanidad por venir. Las reverberaciones de las historias de los personajes conceptuales y reales enumerados en esta investigación tienen como objetivo delinear y resaltar especificidades que corroboran la construcción de una narrativa estética y / o performance que promueve la supervivencia de nuevas formas de vida en un espacio común.

Eine belangvolle Transformation ist das zwölfte Buch (Lambda) der „Metaphysik“ des Aristoteles durch verschiedene Interpretationen im Laufe der Jahrhunderte widerfahren, sodass es als eine theologische Schrift bis heute überliefert ist (1. Kapitel). Dabei waren sowohl der ursprüngliche Sinn des Autors als auch die Struktur des Textes kaum erkennbar geworden. Die vorliegende Arbeit ist eine historische Rekonstruktion der verschiedenen Interpretationen des Textes seit den ersten peripatetischen Denkern bis zur Gegenwart, insbesondere die von Michael Frede (2. Kapitel), Lindsay Judson (3. Kapitel) und Stephen Menn (4. Kapitel). Frede behauptet, das Buch Lambda sei eine Untersuchung der Substanz (Ousiologie); Judson denkt, dass es die erste Philosophie vorlegt; Menn argumentiert, es sei eher eine Forschung der ersten Prinzipien (Archäologie). Hier wird eine weitere Meinung vertreten, nämlich, dass Lambda die Untersuchung der Prinzipien der Substanz ist und somit verkörpert es Aristoteles’ Verständnis der Sophia (5. Kapitel). Überdies löst diese neuartige Lesart des Textes das Problem der Stelle des zwölften Buches innerhalb der „Metaphysik“ dank der Abfassung einer Karte, die seine Struktur verdeutlicht (Anhänge). / The twelfth book (Lambda) of the “Metaphysics” of Aristotle has undergone a crucial transformation through the diverse interpretations over the centuries. Thus it has been transmitted up to today as a theological writing (chapter 1). But this made hardly recognizable both the original intention of the author and the structure of the text. The present work is a historical reconstruction of the various interpretations of the text since the first Peripatetic thinkers until today, especially those by Michael Frede (chapter 2), Lindsay Judson (chapter 3) and Stephen Menn (chapter 4). Frede states that the book Lambda is an inquiry into the substance (ousiology); Judson thinks that it presents the first philosophy; Menn argues that it is rather an investigation about the first principles (archaeology). A different opinion is set forth here, namely, that the book Lambda explores the principles of the substance, and in doing so it embodies Aristotle’s understanding of the sophia (chapter 5). Moreover, this new reading of the text solves the problem of the position of the twelfth book in the “Metaphysics” thanks to the composition of a map, which clarifies its structure (appendix).

This dissertation examines experimental dance in New York City in the 1990s. Earlier periods of American concert dance have received significant scholarly attention to the historical, political, and aesthetic aspects of dance practice. Moreover, certain periods of modern dance — especially the 1930s and the 1960s — have been analyzed as moments of significant change, and the artists that emerged from the Judson Dance Theater in particular have held a significant place in the theorizing and historicizing of dance in the United States. However, experimental dance practices of the early 21st century demonstrate dramatically different aesthetics, approaches, and circumstances of production than those of earlier periods, including their Judson forebears. This project argues for understanding the 1990s as a period of significant change for dance, one with continuing resonance for the decades that follow.This project uses the term "downtown dance" to situate experimental dance in New York City as a community of practitioners, rather than as a particular set of aesthetic or artistic practices. Each of the four chapters focuses on an aspect in this period that would define how dance looked, how dancers practiced, and what shaped the artistic values and priorities of this community. The first chapter presents a history of the dance-service organization Movement Research. Tracing the history of the organization from its founding in 1978 through the establishment of its most influential programs in the 1990s — including the Movement Research Performance Journal and the performance series Movement Research at the Judson Church — the chapter locates Movement Research as a central entity in building the community and shaping theaesthetics of downtown dance. The second chapter examines the effects of the AIDS crisis on dance in the 1990s. As AIDS entered its second decade, it collided with and magnified downtown dance's complex relationship with emotion. This chapter draws on scholarship of AIDS' relationship to visual art, theater, and activism, as well as close readings of several works — by artists including Donna Uchizono, Neil Greenberg, John Jasperse, RoseAnne Spradlin, Jennifer Monson, and DD Dorvillier — most not generally understood as "AIDS dances," to argue that AIDS' impact generated a fundamental shift in the role of emotion in downtown dance. The third chapter examines how shifts in arts funding in the 1990s connected to a major restructuring in production models for dance. This chapter connects the history of the modern dance company with both aesthetic and economic developments over the course of the 20th century, arguing that the company should be understood as a combined economic-aesthetic system. Furthermore, the chapter demonstrates the new model for dance production that began to take hold in the 1990s in the wake of widespread funding and economic shifts: the project model. Teasing out the complex web of funding for dance, this chapter makes extensive use of dance periodicals; several funding trend analyses from organizations including Dance/USA, National Endowment for the Arts, Dance/NYC, and private corporate and foundation reports; and the archives of the presenting institution Danspace Project. The final chapter looks at how the shifts in economic models for dance discussed in the previous chapter connected to changes in training and bodily technique of dancers and performers. Specifically investigating the history of "release technique," this chapter examines how attitudes toward technique and training in downtown dance in the 1990s shifted the connection between movement practices and creative output, reconceiving the role of the dancer in the dancer-choreographer relationship.