{"id":6774,"date":"2026-02-12T14:23:23","date_gmt":"2026-02-12T13:23:23","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=6774"},"modified":"2026-02-24T11:10:48","modified_gmt":"2026-02-24T10:10:48","slug":"mdwp004-033","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/","title":{"rendered":"Bundling Meaningfulness in a Felt-Bodily Manner"},"content":{"rendered":"<h2 class=\"subtitle\">Structured Movement as Aisthetic Labor<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/h2>\n<h3 class=\"author\"><em>Birgit Abels <a href=\"https:\/\/orcid.org\/0000-0003-0400-137X\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/em><\/h3>\n<p>&nbsp;<br \/>\n<head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\nfigure {\n            margin: 0;\n }<\/p>\n<p> table {\n      line-height: 1.4;\n    border-collapse: collapse;\n    width: 100%;\nfont-family: inherit;\n  }<\/p>\n<p>table p {\n      margin: 0;\n    }\n  th, td {\n    border: 1px solid black;\n    padding: 8px;\n    text-align: left;\n    vertical-align: top;\n  }\n  thead tr {\n    background-color: #e0e0e0;\n }\n  th {\n    text-transform: none;\n  }\n    <\/style>\n<p><\/head><\/p>\n<div class=\"one_half\">\n<p style=\"text-align: left;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/\" style=\"color:#000000 !important;\">&#129028;<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-034\" style=\"color:#000000 !important;\">&#129030;<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><div class=\"toggle-content\"><p>\n<div id=\"zotpress-51514744a017fb6cd78a1097be411043\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span class=\"ZP_API_USER_ID ZP_ATTR\">4511395<\/span>\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\">{4511395:WQE968US}<\/span>\n\t\t<span class=\"ZP_COLLECTION_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TAG_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_AUTHOR ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_YEAR ZP_ATTR\"><\/span>\n        <span class=\"ZP_ITEMTYPE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_INCLUSIVE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_STYLE ZP_ATTR\">chicago-author-date<\/span>\n\t\t<span class=\"ZP_LIMIT ZP_ATTR\">50<\/span>\n\t\t<span class=\"ZP_SORTBY ZP_ATTR\">default<\/span>\n\t\t<span class=\"ZP_ORDER ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TITLE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_SHOWIMAGE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_SHOWTAGS ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_DOWNLOADABLE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_NOTES ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_ABSTRACT ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_CITEABLE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_TARGET ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_URLWRAP ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_FORCENUM ZP_ATTR\"><\/span>\n        <span class=\"ZP_HIGHLIGHT ZP_ATTR\"><\/span>\n        <span class=\"ZP_POSTID ZP_ATTR\">6774<\/span>\n\t\t<span class=\"ZOTPRESS_PLUGIN_URL ZP_ATTR\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/plugins\/zotpress\/<\/span>\n\n\t\t<div class=\"zp-List loading\">\n\t\t\t<div class=\"zp-SEO-Content\">\n\t\t\t\t<span class=\"ZP_JSON ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%22WQE968US%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Abels%22%2C%22parsedDate%22%3A%222026%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BAbels%2C%20Birgit.%202026.%20%26%23x201C%3BBundling%20Meaningfulness%20in%20a%20Felt-Bodily%20Manner%3A%20Structured%20Movement%20as%20Aisthetic%20Labor.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3BMusic%20and%20Motion%20%26%23x2013%3B%20Interweaving%20Artistic%20Practice%20and%20Theory%20in%20Dance%20and%20Beyond%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Stephanie%20Schroedter.%20Vienna%20and%20Bielefeld.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3DWQE968US%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Bundling%20Meaningfulness%20in%20a%20Felt-Bodily%20Manner%3A%20Structured%20Movement%20as%20Aisthetic%20Labor%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Stephanie%22%2C%22lastName%22%3A%22Schroedter%22%7D%2C%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Birgit%22%2C%22lastName%22%3A%22Abels%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22Music%20and%20Motion%20%5Cu2013%20Interweaving%20Artistic%20Practice%20and%20Theory%20in%20Dance%20and%20Beyond%22%2C%22date%22%3A%222026%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22978-3-8376-5611-4%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en%22%2C%22collections%22%3A%5B%22C96IEEWM%22%5D%2C%22dateModified%22%3A%222026-02-09T09%3A43%3A15Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-6774-4511395-WQE968US\" data-zp-author-date='Abels-2026' data-zp-date-author='2026-Abels' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Abels, Birgit. 2026. \u201cBundling Meaningfulness in a Felt-Bodily Manner: Structured Movement as Aisthetic Labor.\u201d In <i>Music and Motion \u2013 Interweaving Artistic Practice and Theory in Dance and Beyond<\/i>, edited by Stephanie Schroedter. Vienna and Bielefeld. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=WQE968US' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nFor neo-phenomenologist Hermann Schmitz, creative processes are dancing movements. Drawing on the felt body\u2019s sensing its motion-laden environment, a motional motive grows into a Gestalt. This Gestalt takes form as it transitions from abstract inspiration into a palpable medium. This is why a piece of fine art is, for him, \u201cdance having taken shape,\u201d and dancing is a motional phenomenon located in primary proximity to aisthetic comprehension. It is felt-bodily communion with the temporo-spaciousness surrounding us. Here, I reflect critically on this notion of dance, inquiring into the relationship between felt-bodily sensing and cultural qualification. Exploring the interfaces of felt-bodily sensing with performance conventions and of diffuse meaningfulness with cultural qualification, I explore dance as a practice of dwelling on the threshold. Inspired by dance practices in Micronesia, my chapter is conceptual in nature\u2014approaching phenomenology through dance rather than vice versa.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">Introduction<\/a><br \/>\n<a href=\"#2\">Structured Movement as Aisthetic Labor<\/a><br \/>\n<a href=\"#3\">Weaving Together Temporospatial Complexity beyond Time and Space: Palauan <em>ruk<\/em><\/a><br \/>\n<a href=\"#4\">Conclusion<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<h4 id=\"1\">Introduction<\/h4>\n<p>Neo-phenomenologist Hermann Schmitz (1928-2021) considers any and all creative processes as intrinsically dancing movements, owing to the nature of what he terms \u201csuggestions of motion\u201d (<em>Bewegungssuggestionen<\/em>):<\/p>\n<blockquote>\n<p class=\"tsquotation\">The felt body, not the artist\u2019s mind, receives the inspiration: in the felt body\u2019s perception, a mentally or emotionally conceived motif grows from suggestions of motion to the <em>Gestalt<\/em> in which it can then, as it transitions into a visible, audible, or tactile medium, literally or metaphorically see the light of the day. <em>Thus, an artwork is an objectified gesture inspired by felt-bodily sensing, a dance solidified into fixed form<\/em>.<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Where artistic creativity transforms from inspirational spark into manifestation, Schmitz argues, the felt body draws on its ability to sense its motion-laden environment. As the felt body\u2014perhaps it is more instructive to refer to it as the feeling body<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> in this context\u2014parses the complex stream of para-reflective sensory information, it finds itself incited by a motional motive which grows into a <em>Gestalt<\/em>. This <em>Gestalt<\/em> literally takes form as it transitions from abstract inspiration into a visible, audible, or palpable medium. The process by which a creative impetus becomes manifest\u2014as a gesture, a music performance, or a piece of art\u2014is, therefore, a motor practice at heart. As such, it is intimately tied to the felt body.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> This is why, for Schmitz, a piece of art in essence consists of suggestions of motion which, sensed by the felt body, have manifested into an objectified <em>Gestalt<\/em>. This process, in which \u201chuman felt-bodilyness translates into the objective Gestalten of the fine arts,\u201d hinges on the unfolding of <em>Gestalten<\/em> (<em>Gestaltverlauf<\/em><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a>). Importantly, specific <em>Gestalten<\/em> tend to merge with specific types of suggestions of motion; otherwise a <em>Gestaltverlauf<\/em> would be arbitrary.<\/p>\n<p>Bearing this in mind, Schmitz suggests that dancing is a motional phenomenon located in primary proximity to any aisthetic comprehension of the world in which we live. It is felt-bodily interaction with the temporo-spaciousness surrounding us and the holistic meaningfulness present in our felt-bodily surroundings. Schmitz\u2019s suggestions of motion are a type of kinetic atmospheric energy that feeds into the rhythm of a person\u2019s vital drive, thus impacting them in their entire being. Schmitz positions these suggestions of motion as the heartbeat of vitality in a general sense; therefore, his philosophy should be intuitive to choreomusicologists and others exploring dance as a felt-bodily practice,<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> as it already has been to dance therapists in particular.<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> It resonates well with key ideas in the philosophy of dance around the turn of the twentieth century, ranging from Nietzsche<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a> to von Laban.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a> And yet, like felt-bodily holisms, Schmitz\u2019s suggestions of motion fail to address an analytical category that is fundamental to any structured movement activity: the cultural distinctiveness of performance conventions, without which, paradoxically, a specific dance movement\u2019s meaningfulness will forever remain out of reach. Contemporary global dance studies, by contrast, tend to wrestle with the opposite problem: with much of its theoretical and conceptual underpinnings derived from postmodern and poststructuralist approaches to the body, here the moving body tends to be \u201cseen as a technical tool with intentionality that enumerates political agendas, or a text on which various politics are inscribed or negotiated.\u201d<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a> Contemporary global dance studies tend to fail to address the specifically motional affordances the felt-bodily negotiation of Chakravorty\u2019s \u201cvarious politics\u201d\u2014via structured movement practices\u2014draws on. To me, this somewhat paradoxical situation urges inquiry into the relationship between felt-bodily sensing and cultural qualification. In this chapter, I follow this invitation by making a foray into dance as a threshold practice that strategically links felt-bodily sensing with specific structured movement conventions, diffuse meaningfulness with cultural qualification, and allows us to conceptualize atmospheres together with the cultural frameworks within which they unfold their efficacy. I am not so much interested here in a choreomusical analysis of structured movement activity that seeks to analyze choreographic structure alongside connotative semantic content.<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a> Instead, following up on Schmitz\u2019s notion of the motor quality of all creative movement, I will inquire into structured movement systems as a distinctly kinesthetic type of aisthetic labor, in Schmitz\u2019s fellow neo-phenomenologist Gernot B\u00f6hme\u2019s sense.<\/p>\n<p>To scholars studying Pacific Island performing arts, the insight that the movement dimension of activities or activity systems (often referred to as \u201cdance\u201d in a Northern Atlantic context) works systematically across several distinct layers\u2014thus bringing each into conversation with one another on divergent levels of meaningfulness\u2014is not new at all.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a> In her work on Hawaiian <em>hula<\/em>, Adrienne L. Kaeppler has emphasized the importance of the processuality behind the emergence of such complex meaningfulness in performance, underlining how \u201coften, the process of performing is as important as the cultural form produced.\u201d<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a> Scholars working in other areas of Oceania second this appraisal.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a> In keeping with Oceanic notions of deep meaning versus surface meaning\u2014also relevant across the entire region<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a>\u2014she describes how movement motifs may depict specific animate beings (such as flowers or animals) or inanimate things (such as objects) but, at the same time, also refer to \u201cveiled or hidden meanings, making reference to genealogical lines, chiefs, and their deeds, and thus enhancing the texts.\u201d<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a> This leads her to distinguish between the \u201cvisible\u201d (i.e., an actual performance), and the \u201cinvisible\u201d (i.e., the \u201caesthetic system\u201d) by which specific movements are engendered with meaningfulness:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Only if one knows the social and cultural background will the visible and the invisible emerge in all their dimensions to reveal the political acumen of the creator or [\u2026] the reinterpreter. The resulting products were passed from generation to generation to become chronicles of history and social relationships objectified in verbal and visual forms.<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/p>\n<\/blockquote>\n<p>A key to understanding <em>hula<\/em> is <em>kaona<\/em>, a deeply Kanaka Maoli (native Hawaiian) concept embracing the idea of the \u201chidden meaning\u201d and significatory stratification inherent in both language and cultural practices. Only with a deep understanding of <em>kaona<\/em>, Kaeppler argues, does a performance\u2019s meaningfulness \u201cbecome [\u2026] visible as a product of human action and interaction in the context of a socially constructed movement system. The system itself is invisible, existing in the minds of people as movement motifs, specific choreographies, and meaningful imagery.\u201d<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a> Kaeppler\u2019s interpretation is reminiscent of Schmitz\u2019s distinction between suggestions of motion as an invisible kinetic impetus and motional sensory energy bursting with meaningfulness, on the one hand, and their manifestation as physical movement or a piece of art as \u201cdance having taken shape,\u201d on the other. In several ways, however, Kaeppler and Schmitz are coming from opposite directions. Kaeppler\u2019s interest is in the culturally specific manifestations in the structured movement of the \u201cinvisible system\u201d; Schmitz\u2019s is in the holistic experientiality through which felt-bodily sensing affects human being-in-the-world.<\/p>\n<p>My own interest is piqued by what one could refer to as the missing link between the two perspectives. By taking a step back and looking at the upstream qualities of aisthetic labor,<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a> I extend the well-established viewpoint that the human body is a \u201cmoving agent in a spatially organized world of meanings,\u201d<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a> suggesting that to engage in structured movement activity is to go beyond dimensionally anchored meaning. I argue that to partake in structured movement is to take a plunge into the chaotic and messy intensity of what Schmitz calls surfaceless space\u2014to navigate surfaceless space\u2019s complexity in order to then dwell on the threshold between the surfaceless space from which creative energy emerges, the directional space in which felt bodies incorporate creative energy along culturally qualified conventions, and the dimensional space in which the now-transduced energetic flow takes shape as kinetic movement. This is what I mean when I refer to structured movement activity as a threshold practice: a process that guides the felt body from surfaceless to directional to dimensional space, not in a linear fashion but as an energetic impetus fulfilling itself as body movement as it explores the fringes of the moving felt body\u2019s experiential spatialities. Framing structured movement activity as a threshold practice, I will explore it in the following as a specific type of aisthetic labor. The actual \u201clabor\u201d is for the felt body to manifest meaningfulness into visible structured movement. Regardless of its (in)visibility, however, the holistic meaningfulness energized by the flux of suggestions of motion intervenes into felt-bodily temporospatial economies and, as such, is engendered with cultural qualification. Cultural qualification enters the energetic flow of suggestions of motion in directional space, strategically oscillating in the directions of both surfaceless and dimensional space at all times. It is, thus, no less a phenomenon of dimensional space than of surfaceless space, but it also goes beyond both. I will briefly turn to the mythological framing of the <em>ruk<\/em>, the traditional men\u2019s dance in Palau, Western Micronesia, exploring the oral history of its origin to take a closer look at structured movement activity at the interfaces of surfaceless and dimensional space. In closing, I will reflect on the conceptual implications for this contribution\u2019s central question: what is the aisthetic labor of structured movement?<\/p>\n<h4 id=\"2\">Structured Movement as Aisthetic Labor<\/h4>\n<p>Gernot B\u00f6hme, the second pivotal figure in neo-phenomenology next to Schmitz and one generation the latter\u2019s junior, contends that aisthetic labor is implicitly or explicitly central to any post-Benjaminian aesthetics. It is<\/p>\n<blockquote>\n<p class=\"tsquotation\">generally conceived of as the production of atmospheres and, as such, ranges from cosmetics to advertisement, from interior and stage design to art in a more specific sense. Autonomous art, in this context, is simply one specific form of aisthetic labor, and even where it is autonomous, it has a social function: to impart, in situations that relieve their participants of their agentivity (such as in museums and exhibitions), familiarity with and exposure to atmospheres.<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/p>\n<\/blockquote>\n<p>To labor aisthetically, then, is to invest skill, time, and energy in the emergence of atmosphere as collective feelings poured out in space. B\u00f6hme strategically distinguishes between the production and the reception side of aisthetic labor; he identifies aisthetic theory as, on the one hand, a general theory of the production of atmospheres, and on the other, as a theory of perception in an encompassing sense from the recipient\u2019s perspective. In the context of the latter, \u201cperception is understood as the experience of the presence of people, things, and surroundings.\u201d<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a> B\u00f6hme\u2019s categorical distinction between the dynamics governing the production and reception of atmospheres, respectively, has been useful in application-oriented contexts, such as architectural design; in connection with structured movement, however, it is of little analytical value because the \u201cproducing\u201d movement artist is always already a \u201creceiving\u201d participant as well. Movement artists do not create an objectifiable atmosphere, they are enveloped by the atmosphere their aisthetic labor creates throughout the process. The atmospheres created by structured movement\u2014through their performative processuality\u2014are characterized by a heightened immediacy of B\u00f6hme\u2019s \u201cpresence of people, things, and surroundings.\u201d This is where I locate structured movement\u2019s ability to intensify\u2014Kaeppler, in connection with <em>hula<\/em>, uses the word \u201cenhance\u201d<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a>\u2014the meaningfulness inherent in the complex and ongoing stream of suggestions of motion by transducing them into and manifesting them as culturally qualified bodily structured movement. This intensification occurs through a bundling of diverging spatial and temporal modalities of experience.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a> Any type of bodily movement can experientially bundle such divergent experientialities and, by doing so, produce atmospheric energy. Through structural self-referentiality (Kaeppler\u2019s \u201cinvisible system\u201d), however, the culturally qualified nature of structured movement atmospheres can open dance situations up to their own historicity, thus dynamically positioning a structured movement performance vis-\u00e0-vis the situation\u2019s temporospatial positionality. This positionality emerges atmospherically from the aisthetic stream of meaningfulness through the aisthetic labor of structured movement for the brief duration of the performance or just a moment thereof. Through this process, a performance movement becomes meaningful. It takes cultural conventions of structured movement for Kaeppler\u2019s \u201cdeep meaning\u201d to manifest, and it takes deep meaning for cultural conventions of structured movement to self-referentially bundle divergent experiential frames into atmospheric intensity.<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/p>\n<p>Thinking of B\u00f6hme\u2019s aisthetic labor regarding Schmitz, a key moment of the transductive work that occurs as a <em>Gestalt<\/em> unfolds and manifests\u2014as musical motif, structured object, or physical object\u2014is the transition of a felt-bodily sensed suggestion of motion in surfaceless space to, in one way or another, physical motion in dimensional space. Space for Schmitz \u201cis not originally encountered as the measurable, locational space assumed in physics and geography, but rather as a predimensional surfaceless realm manifest to each of us in undistorted corporeal experience, for example, in hearing voluminous sounds or sensing atmospheres.\u201d<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a> Schmitz gives the example of the resounding of large church bells, the sonic immediacy of which envelop those within hearing range. Another example would be the weather, which<\/p>\n<blockquote>\n<p class=\"tsquotation\">presents surfaceless spaces that are felt immediately in our bodily responsiveness to the atmosphere surrounding us. Crucially, the felt body itself is a surfaceless space, or more precisely an assemblage of many such spaces: corporeal \u2018islands\u2019 such as the stomach region or the soles of feet are felt as diffuse but still separately identifiable spatial realms.<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Surfaceless space is primary in Schmitz\u2019s neo-phenomenology; dimensional space, to him, is an abstract construction and a secondary spatial experience. Structured movement activity impacts surfaceless space in a way that introduces directionality to surfacelessness:<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a> in the now directional space of structured movement activity, suggestions of motion, for instance, as exuded by chants and music, can be incorporated in a felt-bodily manner, and in this way feed into one\u2019s own movement practice.<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a> Similar to structured movement activities, a suggestion of motion enters directional-spatial experience; its motional energy transduces from energetic flow into palpable structured movement. Such transduction intensifies the synesthetic quality of structured movement: that which we know in directional space and that which we sense in a felt-bodily manner in surfaceless space enter into correspondence. \u201cBody-spaces of sound and sound-spaces of the body enter into conversation with one another to give rise to new body-sound-spaces,\u201d writes Stephanie Schroedter.<a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a> Such new body-sound spaces are always transitory and ephemeral, and I suggest we conceive of them as the threshold between surfaceless, directional, and dimensional space. To dance, then, is to experientially explore and savor a spatial threshold experience, and to actively engage with the spatial properties of one\u2019s environment. This accounts for the experiential intensity of structured movement.<\/p>\n<h4 id=\"3\">Weaving Together Temporospatial Complexity beyond Time and Space: Palauan <em>ruk<\/em><\/h4>\n<p>If all creative processes are essentially motional in nature, then it makes sense, against this backdrop, that Pacific Indigenous communities have not traditionally categorized motion in a way that compares to the notion of \u201cdance.\u201d \u201cDance,\u201d in its academic usage, is a distinctly North Atlantic category and sets a specific type of kinesthetic repertoire apart (from daily life activities but also from other types of cultural practices), assigning a bounded category to it. In most of Oceania, kinesthesia is deeply entangled with daily practices and to think in terms of dance as a distinct category would conflict with lived experience. Kaeppler has suggested the term \u201cstructured movement systems\u201d instead.<a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a> Structured movement systems, by definition, include some that are integrally related to music. They are \u201csystems of knowledge, the products of action and interaction, and processes through which action and interaction occur.\u201d<a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a> Structured movement systems<\/p>\n<blockquote>\n<p class=\"tsquotation\">denote specially marked or elaborated systems of movement [\u2026] that result from creative processes that manipulate human bodies in time and space in such a way that movement is formalized and intensified in much the same manner as poetry intensifies and formalizes language. [\u2026] These specially marked movement systems may be considered art, work, ritual, ceremony, entertainment, or any combination of these [\u2026] A person may perform the same or a similar sequence of movements (consisting of grammatically structured motifs) as a ritual supplicant, as a political act, as an entertainer, or as a marker of identity. Thus, the same movement sequence may be meant to be decoded differently if performed for gods, [\u2026] for a human audience, or [\u2026] as a participant for fun; and it may be decoded differently depending on an individual\u2019s background and understanding of a particular performance and the individual\u2019s mental and emotional state at the time.<a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a><\/p>\n<\/blockquote>\n<p>The Austronesian language spoken in Palau, a small island nation in the westernmost part of Micronesia, has the neologism <em>dangs<\/em>, adopted from the English word dance. Generally, however, Palauans will discuss specific dance forms by the name of their dance genre (e.g., <em>ngloik, ruk<\/em>) rather than a generic category. The actual movements and motion-based gestures are inherited from either the Gods or the ancestors. Similar to elsewhere in Oceania, therefore, they \u201cmay be perpetuated as cultural artifacts and aesthetic performances, even if their meanings have been changed or forgotten.\u201d<a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a> Importantly, such underlying systems of structured movement are invisible themselves, \u201cexisting in the minds of people as movement motifs, specific choreographies, and meaningful imagery;\u201d<a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a> but, as the performers move their bodies through time-space, the dance takes shape as visible form. This is, in a tangible manner, reminiscent of Schmitz\u2019s archetypical creative process, which transduces motional energy into a visible medium and impacts the performers\u2019 spatial surroundings.<\/p>\n<p>Schmitz\u2019s notion of space(s) radically complicates notions of space as established in the North Atlantic philosophical traditions. At the same time, however, it remains indebted to European conceptualizations of space, which make a basic distinction between the spatial and the temporal. Many Oceanic languages, by contrast, know the word \u201cspace-time\u201d in one form or another,<a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a> which reflects a conceptualization based on the sense that time, place, and space cannot categorically be distinguished from one another: \u201cThe <em>va\u0304<\/em> [i.e., space-time in Samoan and Tongan<a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a>] is necessarily relational, implying not a static point of observation but a movement, or possible movement between.\u201d<a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a> More specifically, <em>va\u0304<\/em> perceives of space as points and their interrelationships rather than a bounded area.<a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a> Tevita O. Ka\u2019ili conceives of the Tongan practice of <em>tauhi va\u0304<\/em> as a nurturing cultural practice of establishing and strengthening beautiful sociospatial relationships. She emphasizes how it is impossible to think of <em>va\u0304<\/em>, space, without <em>ta\u0304<\/em>, time, both in Tonga and Hawai\u2019i. In Hawaiian culture, \u201cthe past is the time in front and the future is the time that comes behind.\u201d<a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a> Ka\u2019ili\u2019s thinking is closely related to Tongan historical anthropologist \u2019O\u0304kusitino Ma\u0304hina\u2019s <em>ta\u0304-va\u0304<\/em> theory of art.<a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a> Ma\u0304hina sees <em>ta\u0304<\/em> and <em>va\u0304<\/em> as the common medium of all things natural, mental, and social that exist. Accordingly, all things unfold in time and space, with nothing whatsoever existing above or beyond this realm. All things in nature, mind, and society have four dimensions: three spatial dimensions (height\/depth, width\/breadth, length) and one temporal dimension, which is form.<a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a> Ka\u2019ili explains how <em>ta\u0304-va\u0304<\/em> is \u201ccollective and communal but [&#8230;] also arranged in a circular fashion\u201d; and, \u201cthe purpose of ontologically organizing these concepts in a cyclical fashion is to bring multiple entities into harmonious relations with one another.\u201d<a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a> This is made visible in the practice of <em>tauhi v<\/em>a\u0304, especially among closely related people in a \u2018<em>aiga<\/em> or kin group.\u201d<a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a> At the same time, <em>tauhi va\u0304<\/em> underlines the social importance of <em>ta\u0304<\/em> and <em>va\u0304,<\/em> which literally mean \u201cbeating space:\u201d <em>Tauhi va\u0304<\/em>, as a cultural practice, regulates and maintains social relationships between groups by performing reciprocity. The symmetry or asymmetry of such exchange-based relationships leads to either a harmonious relationship or a conflict.<a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a> This illustrates the deep entanglement of notions of time-space and sociality in Tonga.<\/p>\n<p>Oceanic temporalities, thus, tend to place emphasis on the interlacing of the cultural, the relational, and the spatial with the temporal. While this differs significantly from Schmitz\u2019s understanding of space, it does resonate with his acknowledgment that music-making and structured movement are spatial practices of the felt body and, simultaneously, ingrained with a fundamental historicity: \u201c[In sound], sound\u2019s history often lives on,\u201d contends Schmitz.<a href=\"#fn46\" class=\"footnote-ref\" id=\"fnref46\" role=\"doc-noteref\"><sup>46<\/sup><\/a> To engage with music through kinesthetic listening, then, can also be understood as a temporalizing act of the felt body as engaged with its temporo-spatial environment.<a href=\"#fn47\" class=\"footnote-ref\" id=\"fnref47\" role=\"doc-noteref\"><sup>47<\/sup><\/a><\/p>\n<p>This is certainly the case for <em>chelitakl rechuodel<\/em>, the traditional repertoire of the performing arts in Palau, Micronesia, and a closer look at the traditional conceptualization of structured movement activity in Palau will reveal the central role structured movement and kinesthetic listening hold vis-\u00e0-vis lived Palauan temporality (see Abels 2022<a href=\"#fn48\" class=\"footnote-ref\" id=\"fnref48\" role=\"doc-noteref\"><sup>48<\/sup><\/a>). In traditional Palauan thinking, motion is ingrained in the concept of space-time to begin with:<\/p>\n<blockquote>\n<p class=\"tsquotation\">[Traditional Palauan] culture unites [the two categories of space and time] through the notion of a journey (<em>omerael<\/em>, from the verb <em>merael<\/em>, \u201cto walk, to travel,\u201d itself derived from the noun <em>rael<\/em>, \u201cpath, road, way\u201d [PAN *<em>dalan<\/em>]). The journey of a god, person, group, or mythological creature provides a basic space-time continuum for conceptualization and discourse.<a href=\"#fn49\" class=\"footnote-ref\" id=\"fnref49\" role=\"doc-noteref\"><sup>49<\/sup><\/a><\/p>\n<\/blockquote>\n<p><em>Chelitakl rechuodl<\/em> are not the result of the specifics of Palauan temporospatiality; in fact, they are a set of cultural conventions in the practice of Indigenous time-space that render them experiential in their \u201cdeep\u201d sense. \u201cDeep,\u201d here, refers to what Kaeppler has referred to as the \u201cinvisible system,\u201d the complex entanglement of cultural, social, and aesthetic values interlacing with Oceanic spatio-temporality (note here that while surfaceless space is primary to Schmitz, he also refers to it as the \u201cdeeper layers\u201d of spatiality<a href=\"#fn50\" class=\"footnote-ref\" id=\"fnref50\" role=\"doc-noteref\"><sup>50<\/sup><\/a>). Importantly, the spiritual world is a fundamental component of Palauan deep time, and Palauan structured movement activities were originally created by <em>chelids<\/em>, the Palauan Gods. During the Hamburg South Seas Expedition of 1908-1910, Augustin Kr\u00e4mer recorded the following oral history describing the invention of the Palauan <em>ruk<\/em>, a men\u2019s dance:<\/p>\n<blockquote>\n<p class=\"tsquotation\">[Uchelchelid] is considered the inventor of the <em>ruk<\/em>. It is said that once when he sat on the shore of a Ug\u00e9l pel\u00fa, he saw a <em>gorov\u00edd\u0115l<\/em> [caranx] jumping after a <em>teb\u00e9r<\/em> sardine. The jumps inspired him so much that he decided to adopt the caranx as a symbol of the dance. In <em>a<\/em> Ira\u0361i, especially, this is observed, because their god Medege\u0361i is a descendent of Ug\u00e9l\u201bl\u00ebgal\u00edd [=\u00a0Uchelchelid]. In <em>a<\/em> Ira\u0361i, during the period of seclusion, the dancers have in the bai [men\u2019s house], in addition to their <em>tet<\/em> hand baskets, another little basket called <em>gomsang<\/em>\u0115<em>l<\/em>. This basket contains the betel quid for the god and is hung on the bai wall behind the back of its owner. In <em>a<\/em> Ira\u0361i, where several other unusual things occur, the <em>kleme<\/em>a\u0361<em>i<\/em> [\u2018locked in\u2019, i.e. secluded for the purpose of the <em>ruk<\/em> preparation] people engage in something special. Everyone from [a specific house] makes thread (<em>ker<\/em>\u201b<em>r\u00ebl<\/em>) and weaves a net with a particular mesh size; even the <em>uri\u00fal<\/em> members [i.e., the ones of lower rank in the social hierarchy] take part. All of the nets are then tied together, resulting in a long net, which is spread out over the water on the Meg\u00f3rei stone wharf [\u2026], as a soul-catching net for the protective deities, the 7 Galid [\u2018Gods\u2019], the Tek\u00ed\u0115l mal\u00e1p [\u2018man-eating devils\u2019] [\u2026]. These special practices apply only to <em>a<\/em> Ira\u0361i and Ng\u00e1tpang, however, which are the villages of Medege\u0361i p\u00e9lau [=\u00a0a specific <em>chelid<\/em>] [\u2026]. after all of these activities, the day of coming out begins in earnest.<br \/> In the morning, the village women go to the village bai and rub turmeric on the <em>kleme<\/em>a\u0361<em>i<\/em>. Each of them puts on a women\u2019s skirt. In this state, the men now advance in a festive procession towards the ocean, holding the wooden <em>gorov\u00edd<\/em>\u0115<em>l<\/em> in their raised right hands. At the edge of the path, at some distance, lies a tridacna clam shell filled with water. The leader dips the head of his dance rod figure into this, an act known as <em>om\u00e1r<\/em>\u0115<em>g ra gorov\u00edd<\/em>\u0115<em>l<\/em> \u201cthe dipping of the caranx.\u201d After this, the group returns to the bai in silence, where the women perform their dances on the stage. Now has come the time for the dancers to show what they have learned while being sequestered. First, they do <em>kleme<\/em>a\u0361<em>i,<\/em> a little dance and then return to their bai. It is not until the afternoon that the great dance <em>gorov\u00edd<\/em>\u0115<em>l<\/em> is performed; it is followed by the <em>koteb\u00e1d<\/em>\u0115<em>l<\/em>, the other clubs.<a href=\"#fn51\" class=\"footnote-ref\" id=\"fnref51\" role=\"doc-noteref\"><sup>51<\/sup><\/a><\/p>\n<\/blockquote>\n<p>The <em>ruk\u2019s<\/em> choreography is predetermined by the ancestors.<a href=\"#fn52\" class=\"footnote-ref\" id=\"fnref52\" role=\"doc-noteref\"><sup>52<\/sup><\/a> The actual dance is of divine origin and the actual performance of a <em>ruk<\/em> calls upon the deities and ancestor spirits to an extent that determines the structure of the months-long seclusion period prior to the performance of a grand <em>ruk<\/em>. Ritual objects manifest and further consolidate this link into the spiritual realm, rendering the presence of spirits felt. To perform the <em>ruk<\/em> following the ritual observance of the traditional <em>kleme<\/em>a\u0361<em>i<\/em>, then, is not only to dwell on the threshold between surfaceless, directional, and dimensional space. It is also to commune with spiritual beings in the here and now, and to dissolve the boundary between the past and the present while performing\u2014in the present\u2014along linear time structures. The <em>ruk<\/em> makes this possible by creating a performance space in which the performers can listen kinesthetically,<a href=\"#fn53\" class=\"footnote-ref\" id=\"fnref53\" role=\"doc-noteref\"><sup>53<\/sup><\/a> and in Schmitzian terms, act upon suggestions of motion. Through its genre conventions, it also provides a set of cultural strategies for both the performers and the audience to navigate the wealth of suggestions of motion it creates space for. These strategies are based on structured movement\u2019s ability to guide the felt body in bundling suggestions of motion and transduce them into an encompassing sensation of meaningfulness.<\/p>\n<h4 id=\"4\">Conclusion<\/h4>\n<p>The dancing felt body\u2019s aisthetic labor is based on its kinesthetic awareness.<a href=\"#fn54\" class=\"footnote-ref\" id=\"fnref54\" role=\"doc-noteref\"><sup>54<\/sup><\/a> Kinesthetic listening emerges as a participatory multimodal practice of attunement to motional energy. Attuned in this way to motional energy, structured movement activity in Palau can be cast as a cultural strategy to intensify\u2014via the felt-body\u2019s sensibilities\u2014the sensation of human interconnectedness with everything and everyone around\u2014not only in an ontological and epistemological, but also in a social, cultural, historical, and temporospatial sense. As the dancing felt body bundles and condenses atmospheric suggestions of motion via bodily movement, these suggestions of motion connect the <em>ruk<\/em> performers both with the aisthetic stream of sensory perception, and with those beings and things that share the same space.<\/p>\n<p>Expanding on Schmitz, cultural techniques of the felt-body such as structured movement are strategies to interact with and intensify the holistic meaningfulness present in our felt-bodily surroundings. In doing so, they significantly alter surrounding spatial economies, giving rise to the emergence of new suggestions of motion and changing extant ones. It is of central importance to note here that structured movement activities do not change space as a dimension external to the felt body; the space of structured movement is, by nature, a space-as-felt-bodily-connection. Seen against this background, then, it is no coincidence that Schmitz\u2019s conception of dance figures almost literally in the reflections of one of the seminal figures of expressionist dance, Mary Wigman (1886-1973), who in 1922 described the ballet dancer\u2019s sensation as she does a <em>piqu\u00e9 tour<\/em> as one of becoming one with \u201call the oscillating celestial bodies\u201d and of \u201ccommunion with space;\u201d<a href=\"#fn55\" class=\"footnote-ref\" id=\"fnref55\" role=\"doc-noteref\"><sup>55<\/sup><\/a> or, in Japanese <em>butoh<\/em> performer Min Tanaka\u2019s statement that \u201cwhen I dance, I don\u2019t dance in the place, but I am the place.\u201d<a href=\"#fn56\" class=\"footnote-ref\" id=\"fnref56\" role=\"doc-noteref\"><sup>56<\/sup><\/a> B\u00f6hme, in recourse to Baumgarten, seeks to emphasize the ultimately epistemological nature of sensory perception and, as such, of aisthetic labor.<a href=\"#fn57\" class=\"footnote-ref\" id=\"fnref57\" role=\"doc-noteref\"><sup>57<\/sup><\/a> Following Schmitz, such knowing emerges as the unfolding of <em>Gestalten<\/em>, which manifest in one palpable form or another. Importantly, they also exude suggestions of motion themselves, thus re-investing themselves in the feedback loop between suggestions of motions, their unfolding as <em>Gestalten<\/em> and the dimensional sonic event.<\/p>\n<p>For Schmitz, Wigman\u2019s \u201ccommunion with space\u201d would be a natural effect of dance ecstasy: \u201cEcstatic dance completes itself as an intoxication in which the present and the self [\u2026] are surrendered to an unmeasurable expanse.\u201d<a href=\"#fn58\" class=\"footnote-ref\" id=\"fnref58\" role=\"doc-noteref\"><sup>58<\/sup><\/a> In her own words, Wigman describes quite vividly the unfolding of <em>Gestalten<\/em> in this process:<\/p>\n<blockquote>\n<p class=\"tsquotation\">A [sense of] knowing flashes up in her. The wide, invisible, transparent space extends in formless waves, a lifting of the arm will change it. Ornaments emerge, massive, big, disappear again; delicate arabesques dance past, subside; a jump, right in; forms burst, with an evil fizzle; a fast spin; the walls give way. She drops her arms, standing still again, looks into the empty room: the dancer\u2019s realm.<a href=\"#fn59\" class=\"footnote-ref\" id=\"fnref59\" role=\"doc-noteref\"><sup>59<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Structured movement activity, then, is intense aisthetic labor. The multimodal dynamics of structured movement allow for the \u201csensation of dropping through space;\u201d<a href=\"#fn60\" class=\"footnote-ref\" id=\"fnref60\" role=\"doc-noteref\"><sup>60<\/sup><\/a> space, in turn, is filled with suggestions of motion and shared feelings. To drop through space with structured movement, thus, is to surrender to the temporospaciousness surrounding oneself; and, to feel out for the otherwise ineffable holisms of lived experience is the aisthetic labor of kinesthesia.<\/p>\n<p>The neo-phenomenological-inspired terminology and conceptual apparatus I have drawn on in this contribution offer to the study of dance both a language and an analytic for the experiential intensity described by dancers from very diverging backgrounds such as Wigman and Tanaka. Importantly, it is a conceptual framework that adds an analytical understanding\u2014finely attuned to the felt body\u2014to the metaphorical description of kinesthetic intensity.<\/p>\n<section id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>This project received funding from the European Research Council (ERC) under the European Union\u2019s Horizon 2020 research and innovation program (grant agreement No. 862367\u2014Sound Knowledge).<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p> Hermann Schmitz, <em>System der Philosophie. II.2: Der Leib im Spiegel der Kunst<\/em> (Freiburg: Karl Alber, [1966] 2019), 77. In the original German: \u201cDer Leib, nicht der Geist des K\u00fcnstlers, empf\u00e4ngt die Inspiration: Ein gedanklich oder gef\u00fchlshaft konzipiertes Motiv w\u00e4chst im eigenleiblichen Sp\u00fcren von Be\u00adwe\u00adgungs\u00adsuggestionen zu der Gestalt hin, als die es dann, beim \u00dcbergang in ein sicht-, h\u00f6r- oder tastbares Medium, buchst\u00e4blich oder gleichsam das Licht der Welt erblicken kann. Das Kunstwerk ist also eine objektivierte, vom leib\u00adlichen Befinden inspirierte Geb\u00e4rde, ein in feste Form geronnener Tanz.\u201d All translations in this contribution are my own.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>See Hermann Schmitz, Rudolf Owen M\u00fcllan, and Jan Slaby, \u201cEmotions Out\u00adside the Box\u2014The New Phenomenology of Feeling and Corporeality,\u201d in <em>Pheno\u00admenology and the Cognitive Sciences<\/em> 10 (2011): 241-59.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p> Schmitz, <em>System der Philosophie II.2<\/em>, 77.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Ibid. Riedel translates Schmitz\u2019s <em>Gestaltverlauf<\/em> as \u201cgestalt-process;\u201d Friedlind Riedel, \u201cAtmospheric Relations. Theorising Music and Sound as Atmosphere,\u201d in <em>Music as Atmosphere. Collective Feelings and Affective Sounds<\/em>, ed. Friedlind Riedel and Juha Torvinen (London and New York: Routledge, 2020), 1-42, 22.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>E.g., Robert Gugutzer, <em>Verk\u00f6rperung des Sozialen. Neoph\u00e4nomenologische Grund\u00adlagen und sozio\u00adlogische Analysen<\/em> (Bielefeld: transcript, 2012), 99-116.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p> Renate Schwarz, \u201cApplied Embodiment und das Konzept der Leiblichkeit in Beratung, Supervision und Coaching,\u201d in <em>Resonanzen. E-Journal f\u00fcr bio\u00adpsycho\u00adsoziale Dialoge in Psychotherapie, Supervision und Beratung<\/em> 3, no. 1 (2015): 52-64, accessed 26 February 2021, <a href=\"http:\/\/www.resonanzen-journal.org\">http:\/\/www.resonanzen-journal.org<\/a>; Elke Willke, <em>Tanztherapie: Theoretische Kontexte und Grundlagen der Inter\u00advention<\/em> (Wies\u00adbaden: Reichert, 2020).<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Friedrich Nietzsche, <em>Also sprach Zarathustra<\/em>, vol. 1 (Chemnitz: Ernst Schmeitzner, 1883), 54.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p> Rudolf von Laban, <em>Die Welt des T\u00e4nzers<\/em>, third edition (Stuttgart: W. Seifert, 1920), 14.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Pallabi Chakravorty, \u201cMoved to Dance: Remix, <em>Rasa<\/em>, and a New India,\u201d in <em>Visual Anthropology<\/em> 22 (2009): 211-28, 214.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>Stephanie Jordan, \u201cStructural Categories for Relating Music and Dance: Towards an Analytical Method,\u201d in <em>Die Beziehung von Musik und Choreographie im Ballett,<\/em> ed. Michael Malkiewicz and J\u00f6rg Rothkamm (Berlin: Vorwerk 8, 2007), 27-34, 29; see also Kendra Stepputat and Elina Seye, \u201cIntroduction: Choreo\u00admusical Perspectives,\u201d in <em>The World of Music (new series)<\/em> 9, no. 1, special issue on <em>Choreomusicology<\/em> (2020): 7-24.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Adrienne Kaeppler, \u201cVisible and Invisible in Hawaiian Dance,\u201d in <em>Human Action Signs in Cultural Context. The Visible and the Invisible in Movement and Dance<\/em>, ed. Branda Farnell (Metuchen and London: Scarecrow, 1995), 41.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Ibid., 32.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>E.g., Karen L. Nero, \u201cThe Breadfruit Tree Story: Mythological Transformations in Palauan Politics,\u201d in <em>Pacific Studies<\/em> 15, no. 4 (1992): 235-60.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>See e.g., Vicente M. Diaz, \u201cVoyaging for Anti-colonial Recovery: Austronesian Seafaring, Archipelagic Rethinking, and the Re-mapping of Indigeneity,\u201d in <em>Pacific Asia Inquiry<\/em> 2, no. 1 (2011): 21-32.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Kaeppler, \u201cVisible and Invisible,\u201d 33.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Ibid., 39.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Ibid., 42.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>Patrick Eisenlohr, \u201cSonic Privilege. The Holism of Religious Publics,\u201d blog entry for <em>The Immanent Frame. Secularism, religion, and the Public Sphere<\/em>, 2019, accessed 25 February 2021, https:\/\/tif.ssrc.org\/2019\/05\/21\/sonic-privilege\/.<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p> Brenda Farnell, ed., <em>Human Action Signs in Cultural Context: The Visible and the Invisible in Movement and Dance<\/em> (Metuchen and London: Scarecrow Press, 1995), 7.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Gernot B\u00f6hme, <em>Atmosph\u00e4re. Essays zur neuen \u00c4sthetik<\/em> (Berlin: Suhrkamp, 2013), 24. In the original German: \u201c[\u00c4sthetische Arbeit] wird allgemein bestimmt als Produktion von Atmosph\u00e4ren und reicht insofern von der Kosmetik \u00fcber Werbung, Innenarchitektur, B\u00fchnenbildnerei bis zur Kunst im engeren Sinne. Die autonome Kunst wird in diesem Rahmen nur als eine spezielle Form \u00e4sthetischer Arbeit verstanden, die auch als autonome ihre gesellschaftliche Funktion hat. Und zwar soll sie in handlungsentlastender Situation (Museum, Ausstellung etc.) die Bekanntschaft und den Umgang mit Atmosph\u00e4ren vermitteln.\u201d<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Ibid., 24. In the original German: \u201cDie neue \u00c4sthetik ist also auf seiten der Pro\u00adduzenten eine allgemeine Theorie \u00e4sthetischer Arbeit. Diese wird ver\u00adstanden als die Herstellung von Atmosph\u00e4ren. Auf seiten der Rezipienten ist sie eine Theorie der Wahr\u00adnehmung im unverk\u00fcrzten Sinne. Dabei wird Wahrnehmung verstanden als die Erfahrung der Pr\u00e4senz von Menschen, Gegen\u00adst\u00e4nden und Umgebungen.\u201d<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Kaeppler, \u201cVisible and Invisible,\u201d 39.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>Birgit Abels, \u201cBodies in Motion. Music, Dance and Atmospheres in Palauan <em>ruk<\/em>,\u201d in <em>Music as Atmosphere. Collective Feelings and Affective Sounds<\/em>, ed. Friedlind Riedel and Juha Torvinen (London: Routledge, 2019), 165-83.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>Something similar could be said about sonic atmospheres versus musical atmospheres, see Abels 2022.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>Schmitz, M\u00fcllan, and Slaby, \u201cEmotions Outside the Box,\u201d 245.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Ibid.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Hermann Schmitz, <em>System der Philosophie\u00a0III.1: Der leibliche Raum<\/em> (Freiburg: Karl Alber, [1967] 2019), 179.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Ibid., 71.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Stephanie Schroedter, \u201cNeues H\u00f6ren f\u00fcr ein neues Sehen von Bewegungen. Von der Geburt eines zeitgen\u00f6ssischen Balletts aus dem K\u00f6rper der Musik\u2014Ann\u00e4herungen an Martin Schl\u00e4pfers musikchoreographische Arbeit,\u201d in <em>Bewegungen zwischen Sehen und H\u00f6ren. Denk\u00adbewegungen \u00fcber Bewegungsk\u00fcnsten,<\/em> ed. Stephanie Schroedter [W\u00fcrzburg: K\u00f6nigshausen &amp; Neumann, 2012], 43-104, 48. In the original German: \u201cK\u00f6rperr\u00e4ume des Klanges und Klangr\u00e4ume des K\u00f6rpers treten miteinander in einen Austausch, um neue K\u00f6rper-Klang-R\u00e4ume entstehen zu lassen.\u201d<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>Adrienne Kaeppler, \u201cStructured Movement Systems in Tonga,\u201d in <em>Society and the Dance<\/em>, ed. Paul Spencer (Cambridge: Cambridge University Press, 1985), 92-118; Adrienne Kaeppler, \u201cUnderstanding Dance,\u201d in <em>Garland Encyclopedia of World Music,<\/em> vol. 9, <em>Australia and the Pacific Islands<\/em>, ed. Adrienne L. Kaeppler and J.W. Love (New York and London: Garland Publishing, 1998), 311-8.<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>Kaeppler, \u201cUnderstanding Dance,\u201d 311.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>Ibid., 312.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>Ibid.<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>Ibid.<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>Damon Salesa, \u201cThe Pacific in Indigenous Time,\u201d in <em>Pacific Histories: Ocean, Land, People,<\/em> ed. David Armitage and Alison Bashford (New York: Palgrave MacMillan, 2014), 31-52, 41.<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>See Andrea Staley, <em>Identifying the Va\u0304: Space in Contemporary Pasifika Creative Writing<\/em> (Master\u2019s Thesis, University of Hawai\u2019i at Manoa, 2017), accessed 14 December 2020, https:\/\/scholarspace.manoa.hawaii.edu\/bitstream\/10125\/62661\/2017-05-ma-staley.pdf.<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>Salesa, \u201cThe Pacific in Indigenous Time,\u201d 43.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>See Staley, <em>Identifying the Va\u0304<\/em>, 52; Fepulea\u2019i Micah Van der Ryn, <em>The Measina of Architecture in Samoa\u2014An Examination of the VA\u0304 in Samoan Architecture and Socio-Cultural Implications of Architectural Changes<\/em> (Apia, Samoa: The Institute of Samoan Studies, National University of Samoa, 2007), 3.<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>T\u0113vita O. Ka\u2018ili, <em>Tauhi V\u0101: Creating Beauty Through the Art of Sociospatial Relations<\/em> (PhD dissertation, University of Washington, 2008), quoted in Staley, <em>Identifying the Va\u0304,<\/em> 53. Also see Lilikala Kame\u2019leihiwa, \u201cHawai\u2019i-nui-akea Cousins: Ancestral Gods and Bodies of Knowledge are Treasures for the Descendants,\u201d in <em>Te Kaharoa. The eJournal on Indigenous Pacific Issues<\/em> 2, no. 1 (2009): 42-63.<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>See Adriana Lear, <em>A Study of Traditional Tongan Music Using the Ta\u0304-Va\u0304 (Time-Space) Theory of Art<\/em> (Bachelor\u2019s Thesis, University of Wollongong, 2018); Hu\u0304fanga \u2018Okusitino Ma\u0304hina, \u201c<em>Ta\u0304<\/em>, <em>Va\u0304<\/em>, and <em>Moana<\/em>: Temporality, Spatiality, and Indigeneity,\u201d in <em>Pacific Studies<\/em> 33, no. 2\/3 (2010): 168-202.<a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p>Staley, <em>Identifying the Va\u0304<\/em>, 54.<a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>Ka\u2018ili, \u201cTauhi V\u0101,\u201d 41.<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>Staley, <em>Identifying the Va\u0304<\/em>, 55.<a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>Ka\u2018ili, \u201cTauhi V\u0101,\u201d 42.<a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn46\">\n<p>Hermann Schmitz, Atmosph\u00e4ren, Freiburg: Verlag Karl Alber 2014, 88.<a href=\"#fnref46\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn47\">\n<p>Mariusz Kozak, <em>Enacting Musical Time. The Bodily Experience of New Music<\/em> (Oxford: Oxford University Press, 2020), 3.<a href=\"#fnref47\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn48\">\n<p>Birgit Abels, <em>Music Worlding. Chanting, Atmospheres and Meaningfulness in Palau<\/em> (Amsterdam: Amsterdam University Press, 2022).<a href=\"#fnref48\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn49\">\n<p>Richard J. Parmentier, <em>The Sacred Remains. Myth, History, and Polity in Belau<\/em> (Chicago: University of Chicago Press, 1987), 134.<a href=\"#fnref49\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn50\">\n<p>Hermann Schmitz, <em>Atmospha\u0308ren<\/em> (Freiburg: Verlag Karl Alber, 2014), 83.<a href=\"#fnref50\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn51\">\n<p>KETC (Kra\u0308mer Ethnography Translation Committee), <em>Palau by Prof. Dr. Augustin Kra\u0308mer.<\/em> Vol. 3, trans. of Kra\u0308mer 1926 (Koror: Belau National Museum\/Etpison Museum), 295; for the German original, see Augustin Kr\u00e4mer, <em>Ergebnisse der Su\u0308dsee-Expedition 1908-1910<\/em> (Hamburg: Friederichsen, 1926), II\/B\/3, 315.<a href=\"#fnref51\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn52\">\n<p>Palau Society of Historians, <em>Ongelaod: Klekool, Ngloik ma Chelitakl. Entertainment: Sports and Games, Dances and Songs<\/em> (Koror, 2008), 8.<a href=\"#fnref52\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn53\">\n<p>Stephanie Schroedter, \u201cDenkbewegungen \u00fcber Bewegungsk\u00fcnste\u2014Erste Ge\u00addanken\u00adimpulse,\u201d in <em>Bewegungen zwischen Sehen und H\u00f6ren. Denkbewegungen \u00fcber Bewegungsk\u00fcnsten,<\/em> ed. Stephanie Schroedter (W\u00fcrzburg: K\u00f6nigshausen &amp; Neumann, 2012), 9-27, 10; Gabriele Brandstetter, \u201c\u2018Listening\u2019\u2014Kinaesthetic Aware\u00adness im zeitgen\u00f6ssischen Tanz,\u201d in <em>Bewegungen zwischen H\u00f6ren und Sehen. Denkbewegungen \u00fcber Bewegungsk\u00fcnste<\/em>, ed. Stephanie Schroedter (W\u00fcrz\u00adburg: K\u00f6nigshausen &amp; Neumann, 2012), 113-27, 114 and 123.<a href=\"#fnref53\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn54\">\n<p>Brandstetter, \u201c\u2018Listening.\u2019\u201d<a href=\"#fnref54\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn55\">\n<p>Mary Wigman [=\u00a0Karoline Sofie Marie Wiegmann], \u201cTanz,\u201d in <em>Die Tat<\/em> 13, no. 2 (1922): 863-5, 864-5. In the original German: \u201c[\u2026] Teil der schwingenden Welt\u00adk\u00f6rper alle\u201d and \u201cKommunion mit dem Raum.\u201d \u201cAlles schwankt schon, taumelt ineinander, l\u00f6st sich in einzelnes. Sie f\u00fchlt ihren K\u00f6rper wieder; Still\u00adstand, Ruhe, Beherrschung, letzte Sehnsucht darin, vor\u00fcber die Kommunion mit dem Raum\u201d (ibid., 864).<a href=\"#fnref55\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn56\">\n<p>Cited in Stuart Grant, \u201cPerforming an Aesthetics of Atmospheres,\u201d in <em>Aes\u00adthetics<\/em> 23, no. 1 (2013): 12-32, 14.<a href=\"#fnref56\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn57\">\n<p>Karoline Fahl, <em>Atmosph\u00e4re am Werk. Gernot B\u00f6hmes<\/em> Neue \u00c4sthetik <em>als Ar\u00adchi\u00adtektur\u00ad\u00e4sthetik<\/em>. Study essay. Technical University Berlin, 2016, accessed 26 February 2021, <a href=\"https:\/\/www.bda-bund.de\/wp-content\/uploads\/2017\/09\/Fahl-Atmosph%25C3%25A4re-am-Werk-DGB-2016.pdf\">https:\/\/www.bda-bund.de\/wp-content\/uploads\/2017\/09\/Fahl-Atmosph%C3%A4re-am-Werk-DGB-2016.pdf<\/a>, 14.<a href=\"#fnref57\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn58\">\n<p>Schmitz, <em>System der Philosophie III.1<\/em>, 173. In the original German: \u201cAuch der ekstatische Tanz vollendet sich in einem Rausch, bei dem die Gegenwart und das eigene Ich [\u2026] an ma\u00dflose Weite preisgegeben wird.\u201d<a href=\"#fnref58\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn59\">\n<p>Wigman, \u201cTanz,\u201d 865. In the original German: \u201cErkennen blitzt in ihr auf. Der gro\u00dfe unsichtbare, durchsichtige Raum breitet sich formlos wogend, ein Heben des Armes ver\u00e4ndert, gestaltet ihn. Ornamente steigen auf, wuchtig, gro\u00df, tauchen unter; zierliche Arabesken t\u00e4nzeln vor\u00fcber, versinken; ein Sprung mitten hinein: b\u00f6se zischt es von zerplatzenden Formen; ein schnelles Drehen: die W\u00e4nde weichen. Sie senkt die Arme, steht wieder still, schaut den leeren Raum, das Reich des T\u00e4nzers.\u201d<a href=\"#fnref59\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn60\">\n<p>Albright\/Gere quoted in Brandstetter, \u201c\u2018Listening,\u2019\u201d 118.<a href=\"#fnref60\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>Structured Movement as Aisthetic Labor1 Birgit Abels &nbsp; Introduction Neo-phenomenologist Hermann Schmitz (1928-2021) considers any and all creative processes as intrinsically dancing movements, owing to the nature of what he terms \u201csuggestions of motion\u201d (Bewegungssuggestionen): The felt body, not the artist\u2019s mind, receives the inspiration: in the felt body\u2019s perception, a mentally or emotionally conceived &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[242],"tags":[],"class_list":["post-6774","post","type-post","status-publish","format-standard","hentry","category-schroedter-ed-music-and-motion"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Bundling Meaningfulness in a Felt-Bodily Manner &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bundling Meaningfulness in a Felt-Bodily Manner &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Structured Movement as Aisthetic Labor1 Birgit Abels &nbsp; Introduction Neo-phenomenologist Hermann Schmitz (1928-2021) considers any and all creative processes as intrinsically dancing movements, owing to the nature of what he terms \u201csuggestions of motion\u201d (Bewegungssuggestionen): The felt body, not the artist\u2019s mind, receives the inspiration: in the felt body\u2019s perception, a mentally or emotionally conceived &hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/\" \/>\n<meta property=\"og:site_name\" content=\"mdwPress\" \/>\n<meta property=\"article:published_time\" content=\"2026-02-12T13:23:23+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-24T10:10:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" \/>\n<meta name=\"author\" content=\"Jana Diewald\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jana Diewald\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"33\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/\"},\"author\":{\"name\":\"Jana Diewald\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\"},\"headline\":\"Bundling Meaningfulness in a Felt-Bodily Manner\",\"datePublished\":\"2026-02-12T13:23:23+00:00\",\"dateModified\":\"2026-02-24T10:10:48+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/\"},\"wordCount\":6588,\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"articleSection\":[\"Schroedter (ed.): Music and Motion\"],\"inLanguage\":\"de\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/\",\"name\":\"Bundling Meaningfulness in a Felt-Bodily Manner &#8211; mdwPress\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"datePublished\":\"2026-02-12T13:23:23+00:00\",\"dateModified\":\"2026-02-24T10:10:48+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#breadcrumb\"},\"inLanguage\":\"de\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#primaryimage\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"contentUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"width\":64,\"height\":64,\"caption\":\"orcid\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Bundling Meaningfulness in a Felt-Bodily Manner\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\",\"name\":\"mdwPress\",\"description\":\"Der Open-Access-Universit\u00e4tsverlag der mdw\",\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"de\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\",\"name\":\"mdwPress\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg\",\"contentUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg\",\"width\":\"1024\",\"height\":\"1024\",\"caption\":\"mdwPress\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\",\"name\":\"Jana Diewald\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g\",\"caption\":\"Jana Diewald\"},\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/author\/diewald\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Bundling Meaningfulness in a Felt-Bodily Manner &#8211; mdwPress","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/","og_locale":"de_DE","og_type":"article","og_title":"Bundling Meaningfulness in a Felt-Bodily Manner &#8211; mdwPress","og_description":"Structured Movement as Aisthetic Labor1 Birgit Abels &nbsp; Introduction Neo-phenomenologist Hermann Schmitz (1928-2021) considers any and all creative processes as intrinsically dancing movements, owing to the nature of what he terms \u201csuggestions of motion\u201d (Bewegungssuggestionen): The felt body, not the artist\u2019s mind, receives the inspiration: in the felt body\u2019s perception, a mentally or emotionally conceived &hellip;","og_url":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/","og_site_name":"mdwPress","article_published_time":"2026-02-12T13:23:23+00:00","article_modified_time":"2026-02-24T10:10:48+00:00","og_image":[{"url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png","type":"","width":"","height":""}],"author":"Jana Diewald","twitter_card":"summary_large_image","twitter_misc":{"Verfasst von":"Jana Diewald","Gesch\u00e4tzte Lesezeit":"33\u00a0Minuten"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#article","isPartOf":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/"},"author":{"name":"Jana Diewald","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba"},"headline":"Bundling Meaningfulness in a Felt-Bodily Manner","datePublished":"2026-02-12T13:23:23+00:00","dateModified":"2026-02-24T10:10:48+00:00","mainEntityOfPage":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/"},"wordCount":6588,"publisher":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#primaryimage"},"thumbnailUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png","articleSection":["Schroedter (ed.): Music and Motion"],"inLanguage":"de"},{"@type":"WebPage","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/","url":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/","name":"Bundling Meaningfulness in a Felt-Bodily Manner &#8211; mdwPress","isPartOf":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#primaryimage"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#primaryimage"},"thumbnailUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png","datePublished":"2026-02-12T13:23:23+00:00","dateModified":"2026-02-24T10:10:48+00:00","breadcrumb":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#breadcrumb"},"inLanguage":"de","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/"]}]},{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#primaryimage","url":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png","contentUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png","width":64,"height":64,"caption":"orcid"},{"@type":"BreadcrumbList","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/"},{"@type":"ListItem","position":2,"name":"Bundling Meaningfulness in a Felt-Bodily Manner"}]},{"@type":"WebSite","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website","url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/","name":"mdwPress","description":"Der Open-Access-Universit\u00e4tsverlag der mdw","publisher":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"de"},{"@type":"Organization","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization","name":"mdwPress","url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/","logo":{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg","contentUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg","width":"1024","height":"1024","caption":"mdwPress"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba","name":"Jana Diewald","image":{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g","caption":"Jana Diewald"},"url":"https:\/\/www.mdw.ac.at\/mdwpress\/author\/diewald\/"}]}},"_links":{"self":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/6774","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/comments?post=6774"}],"version-history":[{"count":7,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/6774\/revisions"}],"predecessor-version":[{"id":6972,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/6774\/revisions\/6972"}],"wp:attachment":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/media?parent=6774"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/categories?post=6774"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/tags?post=6774"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}