*nod**nod**nod*  Within performative movement paradigms, how do we consider the transference of kinesthetic empathy? Could one assert that a corporeal impact, of this nature, builds imagery within the mind that leads to a concurrent psychological and unconscious physical assent to the other; a Nod in agreement by way of Kitchener? nod is the name of our study and is where we will analyze and luxuriate (Foster, 2010). 

Given the ubiquity of questions regarding empathetic formation, Nod will venture from an axis point of Cognitive Neuroscience, Dance Studies, and Science Studies; in an effort to reorient around collective kinesthesia, utilizing a renaissance approach. An approach undergirded by Barad, Foster, and Dikker, who consider this manifestation of empathy from sociopolitical, cultural, psychological, and embodied stances. All of which are engaged and translated through Nod’s interview format, cinematography, editing style, and choreographic structure. By employing this multimodal approach within the creation process of Nod, this film aims to transfigure kinesthetic empathy by way of embodied, reflexive, and intra-active self evidence: evidence in the reactivity of the throat to question seven of the interpersonal reactivity index(IRI)  by Jack or the side glance that Christian has to the camera on the Marley floor of the Performing Garage at three minutes and forty seconds. 

 Ultimately, this piece is an invitation to an intra-network of exposure and indiscernibility of the movement on the screen, for the viewer to catch onto our wavelength of kinesthetic empathy, which we define as a dynamism of social behavior that momentarily syncs concerned bodies into an inseparable exchange.