This dissertation theorizes an emergent form, which I call “aspect choreography,” across contemporary experimental poetry and film. The form emerges in dialogue with Western art historical and/or literary traditions traceable to the phenomenological turn of the 1970s. Focusing on the formal characteristics of contemporary poetry and film, the project accompanies a resurgence of interest in studying form across various media that asks how works use form in systematic ways to produce affective force (Eugenie Brinkema); how poetry uses its form to induce particular attentional states (Lucy Alford); how contemporary aesthetic categories play out formally; and how these categories relate to and develop from the social and historical conditions in late capitalist America (Sianne Ngai), for example. This new aesthetics scholarship returns to the careful consideration of how form can produce meaning, but in a way that avoids the decontextualized and ahistorical formalist reading style of New Criticism et al; it considers instead how historical, social, and political structures are necessarily imbricated with the material available for shaping and perceiving [form] in its contemporary period. Aspect choreography is a kind of attentional-cognitive prosody. It’s a second-order form perceptible as a developing rhythm or pattern of switches between delimited and well-defined frameworks of sense-making that the book or film choreographs its reader to move through over time and eventually affectively recognize by means of their own performance of this pattern [of switches]. The form is reflexively cognized, but is nonetheless experienced as affectively or phenomenologically immediate. Aspect choreography participates in a tradition of pedagogical aesthetics traceable all the way to the training function of the Greek chorus, but its approach to pedagogy is perhaps most substantially inflected by the phenomenologically available and reflexivity-oriented work of 1960s and 70s conceptual artists, and the wake of Structuralist and Poststructuralist thought generally. Aspect choreography is a form of visceral pedagogy or orientational reformatting that uses conceptual frameworks, reflexive awareness, expectation, and memory as its primary media, though it necessarily also makes use of secondary time-based media like poetry and/or film as material support(s). The dissertation argues further that this form is a method these works use to metabolize, resist, and/or reflect two interlocking aspects of contemporary life—specifically, a proliferation of often non-superimposable frameworks for meaning and orientation under globalization and late-capitalist pluralism, and an increased awareness of the ways received forms, lenses, and ways of reading are imbricated with structures of power. The dissertation is a philosophical aesthetics project characterizing, describing, and situating aspect choreography as a form. The four chapters explore the affordances of aspect choreography primarily in work by (poet) Chelsey Minnis, (poet) M. NourbeSe Phillip, (filmmaker) Patrick Brice, and (filmmaker/visual artist) Apichatpong Weerasethakul. Each chapter considers how their variously structured deployments of aspect choreography allow these artists differently formatted vectors of affective force and orientation organized around questions, respectively, of the lyric subject, temporality, relationality, and the nature of world. It also considers the medium-specific aspects of these works, but ultimately formulates a theory that works across poetry and video/film. The works considered were produced between 1997 and 2023.