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With its puzzling hypothesis that marionettes dance with more grace than human dancers, Heinrich von Kleist's essay "On The Marionette Theatre" outlines a mechanistic aesthetics of dance which departs from late 18th-century notions of dance as a natural expression of passions. Circling around empty spaces supplemented by variables, the essay displaces the semiosis of such empty spaces onto pseudo-theological and geometrical terms, proposing a world which displaces more traditional cosmological references onto a fictional version of the carved space of non-Euclidian geometry.