Abstract

This excerpt from Kenneth Kings essay, The Dancing Philosopher, traces its genesis from Nietzsches Thus Spoke Zarathustra that, in tandem with the emerging technology of the writing machine, camera and kinetoscope, conjoined the kinetropic and lexigraphemic to inaugurate the kinetic cogito. Maurice Merleau-Pontys 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 Cages and Merce Cunninghams long artistic collaboration that furthered the frontier of a mind-body epistemic