This work begins with a short text by Claudia Rankine from her book "Just Us". C. Rankine is well known for her precise observations of everyday racism in the United States. Her focus is on what is often called "micro-aggressions" - a very subtle form of racism that never becomes blatant but is nevertheless deeply rooted in the thoughts and feelings of large segments of the American population.

For this video work, Christoph Winkler's Company translated the written text into a spoken-word performance and combined it with gestures and movements and the music of Darian Thomas. The performance is held in a monochromatic room to increase focus on the performer. 
Our animations expand words' content and moods into visual associations. 
Concept Development
Storyboard
Nervous system
A pulsating feeling of pain begins to be located in space
Exquisite Cadaver Dance
How it was thought up and made
The Recurrence
— What if you are responsible to saving more than to changing?What if you're the destruction coursing beneath your language of savior?

In the second part of the video, the nerves are already located outside. The video reveals the problem of depersonalization, rejection of identity. And they harden in silver, collapsing due to rigidity.
Verbs

The monologue contains a strong list of familiar lines. I transformed each verb into an allegory. They materialize with sequential sounding.
— What is it we want to keep conscious, to stay known, even as we say, each in our own way, I so love, I know, I shrink, I'm asked, I'm also, I react, I smell, I feel, I think, I've been told, I remember, I see, I didn't, I thought I felt I failed I suspect I was doing I wouldn't I was I should've I felt I could've I never I'm sure I ask… You say and I say but what is it we are telling, what is it we are wanting to know about here?
I so love
Inward-directed action. Beauty is in the eye of the beholder, in our case in the sea shell. In Dutch still life, the shell means eroticism, creativity, and uniqueness, which in my opinion are characteristics of love. 
Flower pupils highlight the creative power of affection.
The eyes embrace with eyelashes and cry with happiness, forming a heart-shaped tear at the tip of the connected flagellum.
I know
The convolutions of the human brain are folded in such a way that they resemble the posture of an agonizing person. 
Woe from the mind. A person is enclosed in an onion-like cage, which recalls the layering of beliefs. The bars fix his position. Sometimes it is painful, but rigidity as a function of beliefs is necessary.
I shrink
Floated by external indifference, you explode through the eye of a needle, the neck of the bottle of your ability to express yourself in reality. Moreover, you must do this through the veil of socially acceptable expression.
I'm asked
Passive action - the serpent of questioning occupies the mouth. On the other end it turns out to be unformed and only an inquisitive nose with the ears of an assertive sun finishes it.
The general shape repeats the question mark.
The receiving figure has three faces - angry where the nose is, shocked in profile and depressed at the back of the head.
I also
Duplication without a core.
The little man goes from a white-skinned butterfly-wing ear to a black one. An attractive idea, as is the precious appearance of this stained glass structure, and as fragile in the form of a connecting staircase, as the concept of finding a common language voiced in the monologue.
The rind with a juicy cut sets off the dullness of the second wing - black people in slavery were prohibited from eating citrus fruits at harvest.
I react
Salacious silicone fingertips stretch towards each other forming DNA (the information structure of our reactivity).
All sensory organs and the spinal cord are connected by flexible conductive strings.
Prickly stars instead of passive eyes. Everything is in action. The hare is always ready to react.
This object also has branches-nerves that echo the previous scene.
I smell
Dog nose smells coffee. Pollen is part of its nose-creature.
I feel
The shuttlecock feels with the palm of its tentacles. Inside and at the end of the umbilical cord is the same precious star-subject. Moreover, the harness cannot grasp its origin.
The synesthetic contrast of spiny, crumbly fingers and soft, light feathers is used here to illustrate the essence of the sense of touch.
I think
Weather under an umbrella is as absurd as the ideas governing material bodies.
An umbrella of rationalization glued together from the tactful spider legs and membranes of a bat attentive to the night protects a gentle assumption. The assumption is unstable - girlish lightning ribbons jump out of the cloud every now and then. 
The lower part of the body is responsible for stability - it is this part that is disarmed by nakedness when a person makes all the bets on his assumptions about the world.
I've been told
Zucchini in a horse's bridle with blinkers. Autonomous having his own emancipated feet in heels, instead of a stalk. But the eyes are obscured by a road sign: turn left or right - rules that supposedly involve personal choice.
I see
Glasses-bird free from spatial restrictions. 
Plump information, being filtered by perception, changes its consistency so much that it even becomes unrecognizable, although it retains the structure.
I remember
A carefully frozen memory, for example, of home. Our tree, our dog - molded by children's plasticine of defective human memory. The ice is warm, not like real ice, but the kind from which something new grows.
CREDITS 
Concept: Christoph Winkler 
Performance: Lois Alexander 
Text: Claudia Rankine 
Camera: Kimini Schumann 
Gaffer: Fabian Eichner 
Music: Darian Thomas 
Costume: Sara Seini 
Hair and Make Up Artist: Sara Grötsch Hoyos 
3D Direction: Alessandra Leone 
3D Design: Nadiia Pliamko 
Animation: Daniel Sherekin
Mocap Recording: Matthias Härtig 
Editors: Alex Smetana, Alessandra Leone 
Colorist: Gabriella Fiore Sound Design and Audio 
Post Production: Paolo Pizzuto 
Production Manager: Laura Biagioni Funded by the Federal Government Commissioner for Culture and the Media in the NEUSTART KULTUR program, [support program DIS-TANZEN/ tanz:digital/ DIS-TANZ-START] of the Dachverband Tanz Deutschland and with funds from the Senate Department for Culture and Europe.