Abstract

A common approach to movement creation amongst contemporary choreographers involves dancers being asked to create movement in response to instructions that require them to form mental images, and then to make decisions in response to the internal feedback loops these images generate. The formation of these images is also facilitated in many cases by the use of digital technologies, via data representation and visualization. This article explores connections between technology, choreographic praxis, cognitive science and related topics in the philosophy of perception, all of which concern the content of mental imagery, and the ways in which it is formed. In particular, we focus on how choreographers have exploited dancers’ innate ability to form kinesthetic images, which are derived from the qualitative dynamics of both actual and imagined bodily movement. We also propose that such images are historically classifiable in terms of their intrinsic geometries.