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2.1: A Playful Philosophical Exploration of Dance through Wittgenstein's Tractatus In this thought-provoking book, typographer and artist Harald Geisler takes readers on an unconventional journey through Ludwig Wittgenstein's famous work, the Tractatus Logico-Philosophicus. By replacing a single word throughout the text - "picture" with "dance" - Geisler opens up a world of new interpretations and questions.

What began as an inspired experiment, prompted by a captivating radio performance of the Tractatus, evolves into a serious yet playful philosophical dialogue. As Geisler states in the introduction, he aims to investigate whether such a simple substitution can yield meaningful insights into the nature of dance, reality, and representation.

The main text presents the modified passages of the Tractatus, inviting readers to contemplate Wittgenstein's propositions in a new light. Can the logical structure of the picture-world relationship be applied to dance? What does it mean for a dance to be "true" or "false"? The altered passages spark fresh lines of inquiry.

But Geisler doesn't stop there. He invites dance makers and thinkers to engage with the text and contribute their reflections. The result is a lively collection of "Responses" that deepens the conversation. Contributors grapple with the implications of "dance" in Wittgenstein's framework, connecting it to their artistic practices and broader philosophical questions.

As contributor Elizabeth Waterhouse suggests, "thinking-with dance can raise a new philosophy of reality and subjectivity." Louella May Hogan poses the intriguing question, "While I am doing my dance, what does my dance do?", hinting at the possibility of dance as an entity separate from the dancer. Tilman O'Donnell reflects on the elusive nature of sense in dance, proposing that "in order to reformulate the picture represented as a static permanent, rely instead on what is felt (though what is felt need not be believed in unequivocally nor reduced to a content) and pay attention to the conditions through which the action is formed slightly more than the feeling itself." Norbert Pape highlights a surprisingly tactile passage in the Tractatus (2.1515) and sees it as a crack through which dance slips into Wittgenstein's rigorous logical construct - a starting point for thinking about dance as "joyful experimentation with our modes of being in and moving through the world." Thilo Garus, reflecting on 2.16, emphasizes the fundamental similarity of all people despite perceived differences - an idea that gains concreteness through embodied engagement with the text.

These philosophically grounded artistic reflections, combined with Geisler's conceptual language play, make "2.1" a richly rewarding read for anyone interested in the intersection of dance, philosophy, and the creative power of language. The book catalyzes thinking, encouraging a rigorous and imaginative encounter with Wittgenstein.

A unique blend of conceptual art and philosophical investigation, 2.1 challenges readers to approach a canonical text from a new angle, one small linguistic turn at a time. In doing so, it also challenges us to re-examine the frameworks through which we understand dance and its relationship to the world.

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