This is an overview of the philosophy of dance that is a subset of Western philosophical aesthetics. There is a new, substantially updated and revised full-text version available as of November 2019 available at the Stanford Encylclopedia of Philosophy website.

This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...) will be explored. This article concludes with the suggestion that further research and discussion on improvisation in the arts is needed, particularly in the areas of non-jazz improvisation. (shrink)

This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system that (...) this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions. (shrink)

This chapter, composed of three parts by three different authors, proposes that one of the many possible ways that dance might embody philosophic thought and discourse is via embodying ethical practice. Each author contributes a different perspective on the relationship between dance and ethical activity. The perspectives can be read both as separate ideas and as interrelated thoughts. Einav Katan-Schmid views ‘dance’ as a metaphor for ‘embodied ethics’. She analyses dance as an embodied activity of decision-making which regulates the tension (...) between co-existing physical dynamics. Following from the idea of ‘dancing’, she suggests that one think of ‘embodied ethics’ in performative terms – as a contemplative activity. Aili Bresnahan goes on to show how dance practice provides examples of applied ethics within the traditional western philosophical categories of both virtue ethics and consequentialist ethics. In the third section, Sara Houston argues that dance can encompass an ethics of care. She demonstrates how dance with an ethic of care involves attentiveness, putting person before form, and for the dance artists to give up a degree of control and autonomy over the work made. (shrink)

This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in art and (...) in life), but it does suggest that we might use his theory of ethical practice in conjunction with his theory of art as experience in order to create a more robust and unified Deweyan theory of what the performing artist does. (shrink)

This chapter will analyze the experience and, in particular the conscious experience, of dancing in time from the perspective of the trained dancer while performing. The focus is thus on the experience and consciousness of a dancer who is moving her body in time rather than on the experience of a seated audience member or dance appreciator who is watching a dancer move. The question of how temporality is experienced in dance by the appreciator will therefore not be addressed here. (...) The primary kind of “experience” that will be the focus of my discussion of temporal experience comes from classical pragmatists William James, Charles Sanders Peirce, and John Dewey, for whom experience is “a series of purposive bodily activities immersed in the ongoing flow of organism-environment interactions” (Johnson 2006: 48). The mind-body engaged in this experience, according to the pragmatists, is one that is sensate to its environmental stimuli and interactions while acting within it. Both Peirce and Dewey, for example, view the person as a “psycho-physical” organism – one that is conscious of both qualitative experiences such as feelings towards the environment (attraction, repulsion, and the like) as well as physical sensations (see Peirce 1998/1892: 263 and Dewey 2008/1925: 229). James acknowledges that we are aware of qualitative aspects of our experience such as sensations of difference or change (see James 1950/1890a: 495). My account of the experience of dancing in time will also include conscious aspects of this experience (what-it-feels-like-to-the-dancer herself) as well as any sensorimotor pre-conscious or 2 non-conscious processes of which she is not aware by virtue of her bodily engagement with the world (cf. Maurice Merleau-Ponty 2008/1945: 235-239). (shrink)

Dance can be appreciated from all sorts of perspectives: For instance, by the dancer while dancing, by the choreographer while watching in the wings, by the musician in the orchestra pit who accompanies the dance, or by the loved-one of a dancer who watches while hoping that the dancer performs well and avoids injury. This essay will consider what it takes to appreciate dance from the perspective of a seated, non-moving audience member. A dance appreciator in this position is typically (...) someone who can hear and see, who can feel vibrations of sound through their skin, and who can have other human, kinaesthetic responses and perceptions as well as the cognitive ability to process them. This appreciator is also someone who is a person with a history that may or may not include experiences of dance that have conditioned his or her responses to watching dance. Based on both this experience, and the skill and capacity to focus, pay attention, make judgments, and convey those judgments, there are different types and levels of audience appreciation. This essay will consider three: 1. Innocent Eye Appreciation, 2. Dance-Trained Appreciation, and 3. Critical Appreciation. (shrink)

Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...) and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks and selves have ”careers” due to their cultural evolution that change with the course and flux of history, interpretation and reinterpretation. The question for this essay is how a Margolisian encultured artist, who is also an individual ”self," can construct an identifiable ”career” that is both from culture and develops culture constructively in a way that involves an individual, as well as collective, contribution. In answering this question I will provide a theory that shows how Margolis’ work on the artist as cultural agent leaves room for creative innovators within a cultural context. In short, I claim that Margolis’ idea that a person is a thinking-and-doing practitioner that emerges from and works within a cultural context does allow for the agent to use that same context to acquire the tools and skills necessary to make something new. I will then consider how this innovation might be possible by making recourse to some theories of creativity from neuroscience and psychology. This essay will focus on Margolis’ theory of the creative artist as cultural agent as supplemented with an account of the nature of the human being as a raw set of genetic materials and capacity for acquiring cultural competence. My claim is that this is the site for an adequate account of how some encultured persons are able to create exceptional innovations in artistic domains and others are not. I agree with Margolis that it is true that innovation is not possible by any pre- or non-encultured self but I also think that extremes of cultural mastery and innovation, as in the case of highly creative and innovative artists, are not possible without an inborn potentiality to develop to a high level of cultural ability under the right conditions. This is not to deny Margolis’ theory of artists as cultural agents. Indeed, I accept Margolis’ view of the deep importance of culture to the development of the self and to the creative artist wholeheartedly. I also agree that this is a crucial aspect of artistic agency and creativity that has been given short shrift in analytic aesthetics. My intention here is only to answer one question that is still left unanswered after understanding and acknowledging the importance of culture: How do we account for the disparity in ability in cultural agents and artists that cannot be attributed to cultural training and socio-historical factors? How do we account for the existence of the exceptionally creative artist in a situation where the cultural and socio-historical factors are roughly equivalent for others who demonstrate lesser amounts of creativity? (shrink)

One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned suppressions (...) of women this paper demonstrates that human-identity-related arts censorship not only harms but can actually serve to spur and enhance, rather than suppress, artistic innovation. (shrink)

£ British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] unique and sprawling collection of sixteen essays explores a wide range of perspectives on the human body and how it is embodied, lived, viewed, perceived, and constructed by ourselves and by others in both positive and harmful ways. The book’s contributors include philosophers, sociologists, anthropologists, and artists, as well as scholars who focus on (...) law, culture, and on Africana, race, gender, sexuality, and disability studies. In addition, the authors represent a diverse group of scholars whose personal and societal experiences are also part of the discussion. Centred in philosophical aesthetics, this book moves into and explores fields of everyday and somatic experience, evolutionary psychology, art, ethics, personal identity, and socio-political status and treatment. It shows how bodies are... (shrink)

To what extent does dance contribute to an ideal of beauty that can enrich human quality of life? To what extent are standards of beauty predicated on an ideal human body that has no disability? In this chapter, we show how conceptions of proportionality, perfection, and ethereality from the Ancient Greeks through the 19th century can still be seen today in some kinds of dance, particularly in ballet. Disability studies and disability-inclusive dance companies, however, have started to change this. The (...) disabled person can be beautiful, we will show, in dance and in life, under a disability aesthetics that follows Edmund Burke (1730-1797) and that suggests an alternative standard of beauty, which we call “beauty-in-experience,” where beauty is perceived in the qualitative experience of abled and disabled dancers moving together in dance. (shrink)

This is general and popular opinion piece on what I think about the future of philosophy.

This chapter proposes a theory of dance rhythm as distinct from rhythm in dance. First, it distinguishes natural and intentional rhythm, constructed from combining theories by Dewey and Margolis. It then defends this account by exploring musical and non-musical connections between rhythm and dance. It argues that dance rhythm can arise in conjunction with music, or that it can – though need not – follow music, or that it can set the musical rhythm, or be completely independent of music, though (...) natural or internal bodily rhythms can underpin both. Finally, it asserts the existence of dance that might be naturally rhythmic, but not in a way essential to dance qua dance. (shrink)

Midwest Studies In Philosophy, EarlyView.

This chapter will explore the ways that live improvisational performances by professional-level actors, musicians, and dancers, take place at both cognitive and sub-cognitive levels in ways that are relevant for understanding perception and appreciation of the performing arts. First, evidence from cognitive science will be used to show that improvising, as in a dance or a music jam session or a scene in theatre, may involve physical responses that occur before we are conscious of the event to which we are (...) responding. Second, this chapter will demonstrate how understanding these cognitive processes can help us to pinpoint why live improvisational performances have aesthetic value. Next, this chapter will consider the extent to which critical appreciation involves the enrichment and supplementation of perceptual experience with interpretive practice. Like the improvising performing artist, the audience member, too, has cognitive processes that occur before conscious articulation of what they have perceived. This means that evaluative judgments of live improvisation in the arts, like the improvisatory decisions that are made by the performers in the performances that they are judging, are not made at the purely perceptual level. (shrink)

Eric Mullis' Pragmatist Philosophy and Dance is a thoroughly multi-disciplinary and transdisciplinary book that is centered on and deeply engaged in the experimental and lived experience of Pentecostal dance in the American and Appalachian South. The focal point for Mullis' research is not observation and critique of dance as embodied religious practice from a critical distance but from the inside, embedding his own person and body into the environment with all the resources of the unifying self that he has at (...) his disposal to not just understand the form but feel it and live it. This makes Mullis a true William Jamesian and John Deweyan pragmatist; he doesn't... (shrink)

This paper makes the claim that in “The Origin of the Work of Art,” Heidegger treats art as a primary phenomenon through which truth as unhiddenness is revealed at the locus of the work of art. Essays by Heidegger commentators John Bruin and Abraham Mansbach are rejected as inaccurate or insupportable because they do not recognize that for Heidegger art is an originating phenomenon; it is not a mode of representation , nor is the agency of “art” due to the (...) “work of art”. (shrink)

Craig Hanks and Aili Bresnahan are contributing editors only -- not main editors.

This study introduces the self-construction methods of consumers and the tendency characteristics of experiential purchase to study the effects of physical purchase and experiential purchase on wellbeing. The dependent self-builders obtain higher happiness from experiential purchase; however, the independent self-builders get higher happiness from physical purchase. Furthermore, consumers with a high purchase experience get higher happiness from experiential purchase. Consumers with high material consumption tendency get significantly higher happiness than physical purchase from experiential purchase. Consumers with high materialism tendency gain (...) higher happiness in experiential purchase, which is in line with the expectations of self-construction and consumption theories. This study provides the first evidence for the impact of self-construction methods on wellbeing with different consumption choices. (shrink)

One kind of generalized measures called quantum measures on finite effect algebras, which fulfil the grade-2 additive sum rule, is considered. One basis of vector space of quantum measures on a finite effect algebra with the Riesz decomposition property (RDP for short) is given. It is proved that any diagonally positive symmetric signed measure \(\lambda \) on the tensor product \(E\otimes E\) can determine a quantum measure \(\mu \) on a finite effect algebra \(E\) with the RDP such that \(\mu (...) (x)=\lambda (x\otimes x)\) for any \(x\in E\) . Furthermore, some conditions for a grade-2 additive measure \(\mu \) on a finite effect algebra \(E\) are provided to guarantee that there exists a unique diagonally positive symmetric signed measure \(\lambda \) on \(E\otimes E\) such that \(\mu (x)=\lambda (x\otimes x)\) for any \(x\in E\) . At last, it is showed that any grade- \(t\) quantum measure on a finite effect algebra \(E\) with the RDP is essentially established by the values on a subset of \(E\). (shrink)

What appears irrelevant or negligible to readers of one cultural tradition may be seminal and indispensable to those of another. This article studies a prominent Chinese mode of living—the earnest pursuit of the aesthetic qualities of life—to help bridge the “impasses of noncommunication” in cross-cultural understanding. It constructs the working concept of “the aesthetic dimension of life” from Chinese formative thoughts before it applies the concept to the reading of “Forever by Your Side,” a “short-short story” by a contemporary peasant (...) writer in China. The discussion focuses on how the ethical and the aesthetic are mutually entailing and how aspirations for the aesthetic in life affect human actions in general and ordinary people’s everyday choices and behavior in particular. Approaching the story from Chinese cultural tradition and analyzing it with Chinese conceptual paradigms, this article offers an in-depth understanding of contemporary China in its civilizational context and shows a way to overcome obstacles of cross-cultural communication. (shrink)

Since the mid-1980s and especially after the early 1990s, women's organizations have increased exponentially throughout Africa as have the arenas in which women have been able to assert their varied concerns. Women are organizing locally and nationally and are networking across the continent on an unprecedented scale. They have in many countries been aggressively using the media to demand their rights in a way not evident in the early 1980s. In some countries they are taking their claims to land, inheritance (...) and associational autonomy to court in ways not seen in the past. Women are challenging laws and constitutions that do not uphold gender equality. In addition, they are increasingly moving into government, legislative, party, NGO and other leadership positions previously the nearly exclusive domain of men. In these and other ways women have taken advantage of the new political openings that occurred in the 1990s, even if the openings were limited and precarious. This second generation of activism is markedly different from the earlier post-independence generation of women's mobilization. The reasons for these shifts are varied: the rise of multi-partyism and demise of military rule; the growing influence of the international women's movement; shifting donor strategies; the expansion of the use of the cell phone and the Internet in the late 1990s; coupled with a significant increase in secondary and university educated women. The article explores the major changes in women's mobilization in Africa by contrasting the current women's movements with those that emerged after independence. (shrink)

ABSTRACT This study investigated what information about brain death was available from Google searches for five major religions. A substantial body of supporting research examining online behaviors shows that information seekers use Google as their preferred search engine and usually limit their search to entries on the first page. For each of the five religions in this study, Google listings reveal ethical controversy about organ donation in the context of brain death. These results suggest that family members who go online (...) to find information about organ donation in the context of brain death would find information about ethical controversy in the first page of Google listings. Organ procurement agencies claim that all major world religions approve of organ donation and do not address the ethical controversy about organ donation in the context of brain death that is readily available online. (shrink)

An important branch of environmental theory frames the climate crisis as a moral problem in need of a moral solution: human hubris is responsible for environmental degradation and must be atoned for through humility. Politically indeterminate, however, such argumentation is vulnerable to de-politicizing and mal-politicizing capture. In an effort to fend off the threat of either, this paper turns to the history of political thought and Jean-Jacques Rousseau, who theorized the environment as both a moral and a political domain. I (...) examine how Rousseau understood the availability of republican self-rule to be contingent both on the natural environment and on the relationship we construct with it such that freedom, in his words, is not automatically ‘a fruit of every Clime.’ This is the case, he suggests, because of the environment’s intersection with political economy and political culture. At the same time, Rousseau contends, republican self-rule is also a moral practice; republican polities afford citizens a public means of achieving and exercising moral agency. Triangulating the relationship between polity, morality, and environment, Rousseau’s thought offers an integrative logic through which to imbue the environment with both moral and political salience, thereby circumventing the dangers of mere moralization alone. (shrink)

Roman Catholic moral theology follows a centuries-old tradition of moral reflection. Contemporary Roman Catholic moral theory applies these traditional arguments to the realm of medical ethics, including the issues of active euthanasia and physician-assisted suicide. Unavoidable moral limits on licit medical intervention sometimes require that the moral duty to treat, cede to the duty to cease treatment when measures become more harmful than beneficial to the patient. This does not reduce the need for the compassionate use of palliative care in (...) response to suffering. However, it does mean that rather than being excessively committed to maintaining mere biological human life, or actively seeking death, that we learn a sober realism about the limits of human life. Catholic moral analysis examines an act objectively, both in its relation to the agent and as a material event in the world. This allows both the virtuous or vicious intentions of the agent and the effects of the action to be included in its moral evaluation. Thus, Catholic moral analysis is both quasi-deontological and quasi-consequentialist. Objectively, active euthanasia and physician-assisted suicide, as acts of deliberate killing, are seen as repugnant, in that they fail to incarnate a benign inner intention or to form an agent in virtue. Catholic moral theology is extremely skeptical that an act of intending death directly can be consonant with a sincere compassion for the dying, suffering person and views it as a direct negation of the precious gift of human life. (shrink)

This study investigated what information about brain death was available from Google searches for five major religions. A substantial body of supporting research examining online behaviors shows that information seekers use Google as their preferred search engine and usually limit their search to entries on the first page. For each of the five religions in this study, Google listings reveal ethical controversy about organ donation in the context of brain death. These results suggest that family members who go online to (...) find information about organ donation in the context of brain death would find information about ethical controversy in the first page of Google listings. Organ procurement agencies claim that all major world religions approve of organ donation and do not address the ethical controversy about organ donation in the context of brain death that is readily available online. (shrink)

In this paper, the properties of the super quantum measures are studied. Firstly, the products of Dirac measures are discussed; Secondly, based on the properties of Dirac measures, the structures of super quantum measures are characterized; At last, we prove that any super quantum measure can determine a unique diagonally positive strongly symmetric signed measure. This result verifies the conjecture which was proposed by Gudder.

This essay is part of a special issue celebrating 50 years of Political Theory. The ambition of the editors was to mark this half century not with a retrospective but with a confabulation of futures. Contributors were asked: What will political theory look and sound like in the next century and beyond? What claims might political theorists or their descendants be making in ten, twenty-five, fifty, a hundred years’ time? How might they vindicate those claims in their future contexts? How (...) will the consistent concerns of political theorists evolve into the questions critical for people decades or centuries from now? What new problems will engage the political theorists (or their rough equivalents) of the future? What forms might those take? What follows is one of the many confabulations published in response to these queries. (shrink)

Plastination is a relatively novel technique wherein human tissue is dehydrated and the water is replaced with a plastic-like substance. The process is valuable to educational institutions, because it preserves the body for a long period of time, allowing for prolonged anatomical study. However, a number of ethical issues have been raised regarding the process, particularly related to the procurement of human specimens and the act of displaying these bodies, even for educational purposes. This article explores both the process itself (...) and the associated ethical pitfalls, particularly from a Catholic perspective. (shrink)

Why do we characterize some human actions as political? Political theorists have traditionally argued either that violence is constitutive of political action or that violence must recede for politics to start. Beyond such binaristic thinking, however, the archives of Political Theory provide original paths through which to reenliven this debate.

We report one production and one comprehension experiment investigating the effect of animacy in relative clause attachment in Chinese. Experiment 1 involved a fill-in-the-blank task that manipulated the order of an animate noun phrase in a complex NP construction. The results showed that while low attachment responses exceeded high attachment responses overall (cf. Shen, 2006), a tendency exists to attach a relative clause to an animate NP in Chinese (cf. Desmet et al., 2002). Experiment 2 used a rating task to (...) examine the interplay between animacy and structural information by manipulating the order of the animate NP as well as the relative clause type (i.e., subject vs. object relative clauses). The results showed that the animate NP modification tendency found in Experiment 1 was limited to subject-relative clauses and that no animacy-related effect was found with object-relative clauses. These results are incompatible with purely structural parsing strategies such as Late Closure (Frazier, 1987) and the Predicate Proximity Principle (Gibson et al., 1996). Instead, the current results suggest that attachment ambiguity resolution in Chinese relative clauses is sensitive to animacy as well as structural information. (shrink)

This paper investigates when and how children figure out the force of modals: that possibility modals (e.g., _can_/_might_) express possibility, and necessity modals (e.g., _must_/_have to_) express necessity. Modals raise a classic subset problem: given that necessity entails possibility, what prevents learners from hypothesizing possibility meanings for necessity modals? Three solutions to such subset problems can be found in the literature: the first is for learners to rely on downward-entailing (DE) environments (Gualmini and Schwarz in J. Semant. 26(2):185–215, 2009 ); (...) the second is a bias for strong (here, necessity) meanings; the third is for learners to rely on pragmatic cues stemming from the conversational context (Dieuleveut et al. in Proceedings of the 2019 Amsterdam colloqnium, pp. 111–122, 2019a ; Rasin and Aravind in Nat. Lang. Semant. 29:339–375, 2020 ). This paper assesses the viability of each of these solutions by examining the modals used in speech to and by 2-year-old children, through a combination of corpus studies and experiments testing the guessability of modal force based on their context of use. Our results suggest that, given the way modals are used in speech to children, the first solution is not viable and the second is unnecessary. Instead, we argue that the conversational context in which modals occur is highly informative as to their force and sufficient, in principle, to sidestep the subset problem. Our child results further suggest an early mastery of possibility—but not necessity—modals and show no evidence for a necessity bias. (shrink)

The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this is particularly a difficult task since (...) the analytic philosophy of dance is too young to have achieved a comprehensive treatment of dance per se, let alone to update such a treatment in line with the demands of social justice. As a step in that direction, the present article (a) summarizes dance theorists on disabled dance (as opposed to the dance of the temporarily able‐bodied, or TAB) and then applies (b) the philosophy of art and dance to disability, (c) the philosophy of disability to dance, (d) interdisciplinary disability theory to dance, and (e) my own Figuration philosophy of dance to disability, as inspired in part by John Dewey. (shrink)

This response to the articles by Breck, Amundsen, and Bresnahan is argued from a traditional Orthodox point of view, which accepts the historical Tradition of the Church and recognizes the relevance of this Tradition in the modern world. Traditional Orthodox ethics is grounded in a radical perception of the Resurrection of Christ. Many Western and Eastern commentators on Orthodox religion and spirituality have noted the centrality of the Resurrection to all facets of our Tradition. Thus the discussion of euthanasia (...) should be seen in the light of the Resurrection of Christ. (shrink)