In fact, recent critical proposals on the tendencies in contemporary dance and performance in question tried to connect them to a contemporary line in philosophy, the so-called “object-oriented ontology”, characterized by the attempt to oppose the Kantian idea f or conformity of objects of knowledge to human mind, and therefore of existence and being, trying to undermine it by promoting the ontological equality of object relations. This notion doesn’t describe a stable “school” but divergent proposals and authors with significantly divergent orientations, like the French philosopher Quentin Meillassoux (Après la finitude, Paris, Seuil, 2006), criticizing Kantian “correlationism”, associated retrospectively with this line, Graham Harman, the supposed inventor of the term “object-oriented ontology”, Timothy Morton, Levi Bryant and others, making complex philosophical proposals, exposed in the last years to the risk of somewhat reductive readings in the contemporary art fields.