: This paper represents the authors' attempt to provide a useful framework for discussing and investigating the links between the apparently disparate disciplines of neuroscience and dance. This attempt arose from an interdisciplinary course offering on this topic. A clear need apparent in preparing for an exploration of such uncharted territory was for some definition of the relevant landmarks in the form of a conceptual framework. The current status of that developing framework is presented here, as we consider the (...) historical context that contributed to the cultural distance between neuroscience and dance as disciplines; the conceptual and technical obstacles to collaborative work between these disciplines; and the recent developments, both conceptual and technological, that make the interface between neuroscience and dance a particularly fruitful source of inspiration not only for dancers and neuroscientists but potentially for a wide variety of disciplines touching on health and education in general. (shrink)

It is widely accepted that conscious experience has a physical basis. That is, the properties of experience (phenomenal properties, or qualia) systematically depend on physical properties according to some lawful relation. There are two key questions about this relation. The first concerns the strength of the laws: are they logically or metaphysically necessary, so that consciousness is nothing "over and above" the underlying physical process, or are they merely contingent laws like the law of gravity? This question about the strength (...) of the psychophysical link is the basis for debates over physicalism and property dualism. The second question concerns the shape of the laws: precisely how do phenomenal properties depend on physical properties? What sort of physical properties enter into the laws' antecedents, for instance; consequently, what sort of physical systems can give rise to conscious experience? It is this second question that I address in this paper. (shrink)

We argue that certain modal questions raise serious problems for a modal metaphysics on which we are permitted to quantify unrestrictedly over all possibilia. In particular, we argue that, on reasonable assumptions, both David Lewis's modal realism and Timothy Williamson's necessitism are saddled with the remarkable conclusion that there is some cardinal number of the form ℵα such that there could not be more than ℵα-many angels in existence. In the last section, we make use of similar ideas to draw (...) a moral for a recent debate in meta-ontology. (shrink)

Artificial Neural Networks have reached “grandmaster” and even “super-human” performance across a variety of games, from those involving perfect information, such as Go, to those involving imperfect information, such as “Starcraft”. Such technological developments from artificial intelligence (AI) labs have ushered concomitant applications across the world of business, where an “AI” brand-tag is quickly becoming ubiquitous. A corollary of such widespread commercial deployment is that when AI gets things wrong—an autonomous vehicle crashes, a chatbot exhibits “racist” behavior, automated credit-scoring processes (...) “discriminate” on gender, etc.—there are often significant financial, legal, and brand consequences, and the incident becomes major news. As Judea Pearl sees it, the underlying reason for such mistakes is that “... all the impressive achievements of deep learning amount to just curve fitting.” The key, as Pearl suggests, is to replace “reasoning by association” with “causal reasoning” —the ability to infer causes from observed phenomena. It is a point that was echoed by Gary Marcus and Ernest Davis in a recent piece for theNew York Times: “we need to stop building computer systems that merely get better and better at detecting statistical patterns in data sets—often using an approach known as ‘Deep Learning’—and start building computer systems that from the moment of their assembly innately grasp three basic concepts: time, space, and causality.” In this paper, foregrounding what in 1949 Gilbert Ryle termed “a category mistake”, I will offer an alternative explanation for AI errors; it is not so much that AI machinery cannot “grasp” causality, but that AI machinery (qua computation) cannot understand anything at all. (shrink)

I argue that when we use email, text messaging, or social media websites such as Facebook to interact, rather than communicating face-to-face, we do not experience the best kind of empathy, which is most conducive to experiencing benevolence for others. My arguments rely on drawing interdisciplinary connections between sources: early modern accounts of sympathy, dance theory, philosophy of technology, and neuroscience/psychology. I reflect on theories from these disciplines which, taken together, suggest that to empathize optimally, we must see or (...) hear each other’s bodily gestures, vocal intonations, and facial expressions. (shrink)

Many books have been written on Greek dance. The fault which bedevils a large number of them is that their authors have tried to recreate the movements of the dances from the artistic evidence without taking into account the conventions of Greek vase-painting and sculpture. Other books, and they are the most useful, set out the literary and the artistic evidence without attempting to reconstruct the dances. Rarely, however, are the wider implications considered, and it is these which I (...) wish to discuss here. More analysis and discussion of the evidence for many of my statements is no doubt required, but the place for that is a book rather than an article which ranges over a comparatively large field. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an (...) efficacious means in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance.

We offer obeisances to Lord Śiva, guru of knowledge, lord of the dance, who purifies by the very utterance of his name, who transcends all dualities. May he grant us permission to argue with his devotees. May he also give us his blessings to convince them.Properly speaking, comparative philosophy does not lead toward the creation of a synthesis of philosophical traditions. What is being created is not a new theory but a different sort of philosopher. The goal of comparative (...) philosophy is learning a new language, a new way of talking. The comparative philosopher does not so much inhabit both of the standpoints represented by the traditions from which he draws as he comes to inhabit an.. (shrink)

"Blending literary and photo-journalism, history, and storytelling, essays examine eighteen Texas dance halls in terms of their music, culture, and community. Also considers the predominantly Czech and German heritage from which these halls evolved, as we.

During the 1980's and the early 1990's South Africa experienced disturbing political violence of an unprecedented scope, intensity and nature. It was disturbing because it entailed acts of horrifying brutality, notably the ‘necklace' and the massacre, all of this against the background of ‘civilized' and measured com promise and negotiation. It stubbornly continued despite the unbanning of the liberation political organisations, and the holding of ‘free and fair' elections in April 1994. And it was unprecedented in a whole range of (...) ways, but mainly because of the fact that it was intracommunal, or black- on- black, violence. It was the first time that Black political organisations had turned on each other rather than their white oppressors. For our purposes, what is interesting is the range of responses emanating from South African social scientists in explaining this new phenomenon. Historically, explaining Black political violence in South Africa has had a difficult time of it. Starting with Pierre van den Berghe in 1962, predictions of imminent revolution against the apartheid regime have been so regularly and frequently proved wrong, that a whole industry has arisen in explaining quiescence rather than violence (P. van den Berghe, 1965). The first cluster of theories spawned by the 1976 schools uprising, as Frank Molteno noted in his 1979 review, were analytically disappointing, if not crudely racist. Subsequent overviews by Manganyi & du Toit in 1990, and Beinart in 1992 have born evidence of considerably greater sophistication (Molteno, F (1979).; Manganyi, N & A du Toit, (1990); Beinart, W (1992)). Nevertheless, as I shall show, most have remained within quite conventional theoretical and structuralist parameters. Many have their roots in the earlier dominant Marxism of the 1970's. In this sense they tend towards structural and class determinism, towards absolutist notions of power, and absolutist moral judgement of both apartheid and the individuals associated, however indirectly, with it. In consequence, Black incumbents of apartheid structures were inevitably depicted as willess and powerless puppets dancing to the tune of omnipotent White masters. In this context, it was wrong to talk of black- on- black violence, since one side of this equation, in reality, represented white interests. Much of this analysis also started from quite easy notions of the origins of violence. In this view it was sufficient to show (objective) conflicts of interest, or contra diction, in order to conclude that violence had been adequately explained. Against this background the more hermeneutic contribution by André du Toit to the debate stands out as theoretically innovative, nuanced and bold. This is not to say that it is with out problems. But I do wish to present a picture of a social theorist of considerable imagination and subtletly. Looking back over these theories, it would be tempting to say that the first category of structuralist accounts, should be supplemented with the second category of hermeneutic, accounts. But simply adding theoretically discrepant accounts together is too easy. It is only when the whole notion of structure, employed in the first category, is rethought in post-structuralist form, that an integration of the two elements becomes feasible. This paper follows a Giddensian line in pursuing this reconceptualization. S. Afr. J. Philos. Vol.20(1) 2001: 102-123. (shrink)

Across cultures, in most parts of the world, one come across traditions that employ unique and unusual pedagogies as skilful means to powerfully craft and re-craft our lives and in realizing the self. Using creative meaning-making, individuals evoke wholesome ideas and then motivate their personal selves to perform to them. The Vajranŕtyam or Cham is one of the unique expressions that has been employed from immemorial times to holistically convey the phenomenon of the dance form as a skilful spiritual (...) tool. While the authors recognize that other cultures too engage in spiritual dances as skilful means, here they dwell in greater length on Cham dance or the Tibetan Lama dance, which is performed in the traditional Vajrayana or Tantric schools of Buddhism in India, Bhutan, Mongolia, Nepal, and Tibet. With the advent of various contemporary influences, there is an observable change in the attitude towards the traditional, impacting its pure form. Whether it is undesirable or acceptable is a matter of reflection in another place, yet there are some observations that authors choose to share in the last section of this paper. Also, arising from several yet similar cultural influences, the purists voice accusation of dilution and warn that the traditional Cham dance may be slowly dying and morphing into tourist-friendly theatrics that is pleasing to the eye. In this paper, the authors attempt to elucidate its historical and contemporary role and place, to instigate an inquiry that hopefully provides a robust narrative, rich in value, and with a substantive interpretation from which lessons could be culled or harvested. Authors look at Vajranŕtyam in a generic wisdom-method space cutting across religious and social-cultural spaces. They also seek possible alignments and connect with science, essentially to study, explore, propagate core beneficiaries of the Dharma dance in terms of a sacred mindful and meditative art form. (shrink)

Leitch speaks of his procedure with my work as employing an "abrupt asyndetic format" and as being "a metonymic montage in which themes and citations are playfully and copiously combined." One form of this playfulness is the panoply of figures he uses to describe me and my criticism. The need to use figures for this is interesting, as is their incoherence, though the figures can be shown to fall into a rough antithetical pattern. At one moment the deconstructive critic is (...) a fairy godmother able to turn the pumpkin of the Western tradition into a phantasmal coach. He is a magician or wizard who shows that things are not what they have seemed with the great texts of our tradition or who turns them into something other than what they have seemed solidly to be, pragmatic pumpkins, unequivocally there. At the next moment the deconstructer is a disco dancer, moving sideways in the "lateral dance of interpretation" . The more or less benign fairy godmother and dancer then turns into a "nihilistic magician - who dances demonically upon the broken and scattered fragments of the Western tradition." He becomes a ferocious shaman, "Ravening, raging, and uprooting that he may come/Into the desolation of reality" . He is "a bull-deconstructer loose in the china shop of Western tradition" . In the next moment the bull metamorphoses into a lamb, as Leitch realizes the conservative aspects of deconstruction, the way it claims to be rescuing and preserving aspects of our culture which have always been there, both in literary and philosophical works and in the techniques of interpreting them. The same point is made more sharply and critically by William E. Cain in another recent essay on my work . In the final paragraph of his essay, Leitch has fun inventing permutations of an image of sand in the salad from one of my essays. Will deconstruction sandblast the whole shebang, or will the alien grain of sand turn into a pearl of price? J. Hillis Miller is Frederick W. Hilles Professor of English at Yale. His previous contributions to Critical Inquiry are "Ariadne's Thread: Repetition and the Narrative Line" and "The Critic as Host". (shrink)

Domestic violence discourse challenges cultural acceptance of male violence against women, yet it is often constituted by gendered, racialized, and class-based hierarchies. Transformative efforts have not escaped traces of these hierarchies. Emancipatory ideals guiding 1970s feminist activism have collided with conservative impulses to maintain and strengthen family relationships. Crime control discourse undermines critiques of dominance through its focus on individual men. Domestic violence discourse exemplifies both resistance to and replication of hierarchies of power.

Lloyd Wells' four examples of loss of self challenge both philosophers and clinicians to ponder just what it is that has been lost in such cases. If a self has been lost, who lost it? And how can personal identity be so insecure that it can be lost in so many different ways? Empiricist thinkers, both Western and Eastern, have questioned the very existence of a self; much recent thought about the nature of the self has converged on notions that (...) it is not a substantial reality, but a narrative, the product of the stories that we tell ourselves about our lives so that we can knit together our experiences into a continuous plot. Owen Flanagan and Valerie Hardcastle have already brought one version of this theory to bear on one of Wells' cases and James Phillips explores the capacity of narrative theory to account for each of these cases in an accompanying essay. In this essay, I challenge the adequacy of narrative theories of the self in general and their application to these particular cases. The details of Wells' cases highlight the limitations of narrative theories to discursive, secondary process thought by directing attention to the richer and more expressively forceful resources of metaphor and nondiscursive forms of symbolism. Narrative unity or continuity is no guarantee against experiences of the loss of self. The monological character of narrative masks the sociality of the self, the ways in which each individual self is constituted and threatened by interactions with other selves. I argue for the power of drama, opera, music, dance, and spatial forms of symbolism to cope with the diversity of what Flanagan has dubbed the multiplex self, (Flanagan 1994) especially when narrative fails. Language and narrative certainly play a crucial role in human self-consciousness. But human imagination and art command other resources as well and a theory that acknowledges their contributions can accept and incorporate the insights of narrative theories without confining itself to the limitations of story telling. (shrink)

Observational learning can enhance the acquisition and performance quality of complex motor skills. While an extensive body of research has focused on the benefits of synchronous (i.e., concurrent physical practice) and non-synchronous (i.e., delayed physical practice) observational learning strategies, the question remains as to whether these approaches differentially influence performance outcomes. Accordingly, we investigate the differential outcomes of synchronous and non-synchronous observational training contexts using a novel dance sequence. Using multidimensional cross-recurrence quantification analysis, movement time-series were recorded for novice (...) dancers who either synchronised with (n = 22) or observed and then imitated (n = 20) an expert dancer. Participants performed a 16-count choreographed dance sequence for 20 trials assisted by the expert, followed by one final, unassisted performance trial. Although end-state performance did not significantly differ between synchronous and non-synchronous learners, a significant decline in performance quality from imitation to independent replication was shown for synchronous learners. A non-significant positive trend in performance accuracy was shown for non-synchronous learners. For all participants, better imitative performance across training trials led to better end-state performance, but only for the accuracy (and not timing) of movement reproduction. Collectively, the results suggest that synchronous learners came to rely on a realtime mapping process between visual input from the expert and their own visual and proprioceptive intrinsic feedback, to the detriment of learning. Thus, the act of synchronising alone does not ensure an appropriate training context for advanced sequence learning. (shrink)

Various Yoruba ritual elements--verbal utterances, songs, dance movements, drums and drum rhythms--are extracted from ceremonies connected with their usage as a semiological system.

Time-motion studies revolutionized the design and efficiency of repetitive work last century. Would time-idea studies revolutionize the rules of intellectual/creative work this century? Collaborating with seven professional dancers, we set out to discover if there were any significant temporal patterns to be found in a timeline coded to show when dancers come up with ideas and when they modify or reject them. On each of 3 days, the dancers were given a choreographic problem to help them generate a novel, high (...) quality contemporary dance phrase. They were videoed as they worked on this task for sessions of 15, 30, and 45 min. At the end of each 15 min interval during each session, we had them perform the phrase they were creating. They recorded and then coded the video of themselves dancing during these sessions by using a coding language we developed with them to identify when ideas are introduced, modified, and rejected. We found that most ideas are created early and that though these early ideas are aggressively pruned early on, many still make it into the final product. The two competing accounts of creativity in design research make predictions for the temporal structure of creativity. Our results support neither account, rather showing a more blended version of the two. The iterative design view, arguably the dominant view, is that good ideas are the product of generating many ideas, choosing one fairly early, committing to it, and iteratively improving it. The “fail fast fail often” view is that good ideas are the product of rapidly generating and discarding ideas and holding back from early commitment to any one in particular. The result of holding back commitment, typically, is not that an idea is taken up later and then incrementally improved at the last minute, as much as that later designs are not completely novel, instead incorporating the best parts of the entire sequence of ideas. In our study, we found no evidence that one account or the other was more predictive for the domain of contemporary dance. The behavior of the dancers that we studied revealed elements of both, calling into question how predictive these theories are. (shrink)

It is prudent to highlight that Ingoma has played an essential role in the transformation of amaZulu. The Ingoma’s story is of dramatic socioeconomic changes in Zulu society after the final ‘downfall’ of the independent kingdom. It is the decade in which amaZulu entered the migrant labour system in greater proportions than ever before. As expected from any African society, the narrative for this decade could well be expressed in music, song, dance and some other forms of performances, which (...) could be collectively called Ingoma. Sentiments arose around this period in the history of Zulu Ingoma, whereby some felt it as negative, while others saw it as positive. As such, this article set out to examine the story of Ingoma during the decade between 1929 and 1939. This article adopted an ethnomethodological approach within an interpretive paradigm to understand the impact of Ingoma musical and/or dance performance tradition. The results of this article reveal that Ingoma musical and/or dance performance traditions of the 1920s and 1930s represented the less continuity of precolonial musical and/or dance performance traditions of amaZulu expressions of power and warfare than the complex interaction of dance traditions, labour migration and missionisation. This article concludes by affirming that people continuously construct their cultures to reflect their identities. These results imply two things: firstly, amaZulu migrants were not just passive recipients of cultural changes at that time, and secondly, they were consciously responsible for the transformation of Ingoma dance songs as they reflected on the socioeconomic changes they found themselves in.Contribution: This study contributes by establishing the factual impact of this transformative period on Ingoma musical and/or dance performance tradition and on the broader cultural expression of amaZulu as a society in developing South Africa. (shrink)

David Chalmers has proposed several principles in his attack on the ‘hard problem’ of consciousness. One of these is the principle of organizational invariance , which he asserts is significantly supported by two thought experiments involving human brains and their functional silicon-based isomorphs. I claim that while the principle is an intelligible hypothesis and could possibly be true, his thought experiments fail to provide support for it.

In lieu of an abstract, here is a brief excerpt of the content:Elegia i.3 PROPERTIUS Translated by Steven J.Willett Just as she lay when Theseus’ keel was sliding seaward, the Cnossian maid languid on the desolate shore; just as Cepheus’ daughter reclined in her first slumber, Andromeda, now freed from jagged rocks; just as the Thracian bacchant, weary from incessant dancing, slumps on the grassy bank of the Apidanus; even so Cynthia seemed to breathe a soft repose, her head pillowed (...) on open unruly hands, when I came dragging footsteps wobbly with too much wine, the boys waving burnt-out torches in the late night. Against her I tried, not all my senses utterly derelict, to advance gently on the compliant couch; and, though seized by a double ardor—each was commanding me, love here and wine there, both implacable gods— to assault her by slipping my arm lightly beneath her body and with a hand advanced take kisses and arms, yet I lacked the courage to shatter my mistress’ repose, fearing the brawls whose savagery I’d tasted; so I remained standing there motionless with rapt eyes, like Argus at the strange sight of Io’s horns. And now I was untying the garlands from my forehead and placing them, Cynthia, around your temples; and now I was finding it pleasant to smooth your fallen tresses; then I was giving you stolen apples in hollow palms; but I was lavishing all these gifts on ungrateful sleep, gifts that often tumbled from your sloping lap; and every time you heaved a sigh stirring fitfully, arion 28.2 fall 2020 98 elegia 1.3 I froze, foolishly credulous of an empty sign, fearful that some dream was bringing you strange terrors, or some man was forcing you reluctantly to be his: until the moon drifting across the opposite windows, the meddling moon whose eyes incline to linger, drew her closely-lidded eyes open under its delicate beams. Then, her elbow propped on the soft couch, she asked: “Has another’s rejection finally brought you back to my bed, chucked out with the doors slammed in your face? Where have you squandered the long hours of my night, languid, alas for me, as the stars are waning? Oh, I pray that you may endure, you beast, such nights as you are always making poor me to suffer! Just now I was cheating sleep with purple yarn at the loom, and then, exhausted, with song on Orpheus’ lyre; and sometimes, quite desolate, I softly complained to myself of the long waits your outside loves often cost me. Till sleep with gentle wings brushed me down to oblivion. That was the last concern of all my tears.”... (shrink)

Too little has been written about the biology of joy. Most of the articles in the medical literature about brains and emotions are devoted to explaining how we feel fear, anger, anxiety and despair. This is understandable, because we don't go to doctors when we are feeling optimistic, happy and joyful. Most of what we know about the chemistry of our emotions has been learned from the disorders and the treatments of people who are sad and depressed. -/- But we (...) can't just accept this and say, ‘Why bother?’, because too many of us are seeking to find joy by taking chemicals. We need to ask, ‘What happens inside our brains when we experience happiness? Is there a way to stimulate pleasure in our brains, and what really happens when we do that?’. (shrink)

This article seeks through Ejagham women’s experience in the ritual dances of Ngbokondem and Moninkim to engage the notion of patriarchal control of African women’s sexuality in ‘female genital mutilation’ discourses as postulated by second-wave feminist theorists such as Daly, Koedt, Hosken and so on. A firmly based patriarchy threatens culture, sexuality and identity; the article shows how women use varied coping mechanisms, including aid schemes, sexual insurgency and even breaking of bodies to define their place and identity in a (...) patriarchal society. However, some Ejagham women’s practices are themselves laced with patriarchal violence where women postulate as main participants. The article coins the term ‘triple patriarchy’ to capture this phenomenon. It portrays how Ejagham women, who are interrogating domination, also act in ways that reinforce patriarchy. Using womanist theological lens as the hermeneutic framework, the article concludes that women initiation practices are the foundations through which women grasp the meanings of Christian initiation rituals such as baptism, eucharist, marriage and so on. Hence, they should not be destroyed but fine-tuned; for there is more about the women’s practices that need to be engaged than labelled. (shrink)