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Momentum, Gravity, and 'Sensational Facts': Attending to Interdisciplinary Materiality through Contact ImprovisationThis chapter maps out some initial territory for examining how the movement practice of contact improvisation, a form born in the 1970s out of the explorations of Judson Dance Theatre artists, might be seen to offer a sensation and attention-based approach to matter. I suggest that such an attention-based practice can be understood as crucially interdisciplinary when viewed through the lens of new materialism. In doing so, I discuss the imaginative privileging of the sensate, characteristic of contact improvisation, as a frame through which to point to the significance of two further performance forms: the author’s solo performance Twig Dances and Min Tanaka’s Body Weather training. I conclude by identifying how these scores, which might be broadly identified as ‘contact [and] improvisation’ practices, open up questions of how performance philosophies that seek identification with, or question another, are significant to interdisciplinary investigations of materiality, including scientific processes. Such attention-based scores introduce new understandings of material entanglement, through embodied improvisation, which can be desirable to what this essay will call an experiential posthuman project. As such, ‘posthuman’ is understood in this essay as an approach whereby a collective set of forces, and attention-based processes, study material encounters through post-anthropocentric perspectives. I argue that such attention to materiality may be seen as interdisciplinary, when viewed as both a physical and imaginative performance practice.