Taking an exemplary selection of lyrics and performances of multimedia artist Laurie Anderson, this publication develops a corporal media theory of language. Theoretical arguments are based on the constructivist media theory of Siegfried J. Schmidt supplementing it with arguments from the "Embodied Cognition"-approach (Mark Johnson, Shaun Gallagher, Humberto R. Maturana, Francisco Varela, etc.). A series of focused expert interviews with cultural professionals from Austria and Canada illustrates the integration of nonverbal and verbal components in linguistic comprehension through the reception of Laurie Anderson`s song "Kokoku". The study presented aims at overcoming disciplinary boundaries within aesthetic media research. It advocates a media theory which takes into account the corporal enactment of language through arguments from the humanities and the sciences alike. Taking Laurie Anderson as an example the study points out the relevance of artistic practice for the scientific undestanding of media and technology of language. On the other hand, media arguments on the embodiment of language are confronted with key arguments from the "Embodied Cognition"-approach. The medial constitution of language is explained through factors such as sensorimotorics, intermodal perception and the sociocultural presentation of corporeal experience. The key assumption of the study reads that in linguistic communication nonverbal perceptual meanings are integrated with conceptual (`propositional`) meanings. The bodily based semantic dimensions of language are illustrated in detail through the iconic qualities of linguistic signs in multimedia works. A media aesthetic analysis of exemplary works of Laurie Anderson such as "Zero and One", "Drum Dance", "Walking and Falling", "As:If", "O Superman" und "White Lily" exemplifies the theoretical argumentation. Complementary, expert interviews from the empirical part of the project illustrate that listening to the lyrics of Anderson`s song "Kokoku" fundamentally differs from the process of text comprehension while reading the lyrics. In listening native speakers from Canada as well as non-native speakers from Austria perceive the lyrics of the song as fragments. Furthermore, recipients of both countries focus on single key lines and not on the text as a coherent whole and experience the effects of Anderson`s lyrics predominantly through nonverbal linguistic dimensions such as the quality of the voice and the interplay of text and music.