Where does the avant-garde spirit and aspiration come from, how can they be retained and preserved? How is constant openness to change achieved and maintained? How is creativity and — simply — freedom given and obtained? In search of answers to these questions, people increasingly turn to the body, its movements, and the internal or “muscular” sense. Beginning with Aristotle, it was generally accepted that a person has only five senses — sight, hearing, smell, taste, and touch. However, many have tried and are trying to push the limits of human capabilities, to find a new, “sixth” sense that would help perceive the still unknown. Throughout history, several candidates for the sixth sense have been proposed: in the 17th century, it was “sexual appetite,” then “intuition,” “extrasensory abilities,” and finally, “muscular sense.” The latter — the sensation of one’s own movements — is also called “proprioception” and “kinesthesia.” In its importance, the sixth sense can be considered the first - after all, our ability to distinguish between the Self and the non-Self, our sense of our own activity or subjectivity, feelings of direct contact with the world and closeness to another person depend on it. Avant-garde artists were among the first to appreciate the significance of the sixth sense - the potential of movement, physical action as a source of meaning and expression. Challenging the fact that knowledge-skill is hierarchically subordinated to theoretical knowledge, avant-garde artists laid the foundation for the "motor turn" in humanitarian knowledge.