In my last blog post, I wrote about the ways the Israeli artist Ohad Meromi’s recent installation “Creative Circle” allows its viewers to bodily encounter a set of objects that already exist in relationship. It’s understandable that we’d feel embodiment when we encounter performance (and, as Allison Carruth points out in her post on Jònsi, the gestural often hums along under the radar of critical engagement: when we attend to it, our own somatic encounters with performance can be startling).

In my last post, I discussed gesture in James Cameron’s Avatar. In a response, Josh Landy asked me to think a bit beyond the terms I’d set up in that piece (which focused on what gesture means) to consider what it is we do when we gesture.