Abstract
This excerpt from Kenneth King’s essay, “The Dancing Philosopher,” traces its genesis from Nietzsche’s Thus Spoke Zarathustra (a work that greatly impacted Isadora Duncan’s founding of modern dance) that, in tandem with the emerging technology of the writing machine (typewriter), camera and kinetoscope (cinematography), conjoined the kinetropic and lexigraphemic to inaugurate the kinetic cogito. Maurice Merleau-Ponty’s phenomenological exposition of corporeality further amplified the reflexive potential of movement and the philosophical understanding of kinesthesia, and King cites as well the technosophic synergy of John Cage’s and Merce Cunningham’s long artistic collaboration that furthered the frontier of a mind-body epistemic.
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