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  1. The spring of action: in butō improvisation.Carla Bagnoli - forthcoming - In Routledge Handbook Philosophy of Improvisation in the Arts. London: Routledge.
    This chapter discusses butō dance as an example of improvisation that challenges not only the extant philosophical definitions of improvisation, but also some fundamental presumptions about self-government and agency that are current in action theory. In the first part of the chapter, I identify the main features of butō improvisation, with regard to the nature of its basic movement, and the kind of subjectivity implicated in its generation. I then raise some questions regarding the philosophical characterization of this form of (...)
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  2. Tornadic Black Angels: Vodou, Dance, Revolution.Joshua M. Hall - forthcoming - Journal of Black Studies.
    This article explores the history of Vodou from outlawed African dance to revolutionary magic to depoliticized national Haitian religion and popular dance, its present reduction to Diaspora interpersonal healing, and a possible future. My first section, on Kate Ramsey’s The Spirits and the Law: Vodou and Power in Haiti, reveals Vodou as a sociopolitical construction of racist legal oppression of Africana dances rituals, and artistic-political resistance thereto. My second section, on Karen McCarthy Brown’s Mama Lola: A Vodou Priestess in Brooklyn, (...)
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  3. Dancing-with Cognitive Science: Three Therapeutic Provocations.Joshua M. Hall - forthcoming - Middle Voices.
    According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s overemphasis on cognition (...)
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  4. Trans-Religious Dancing Dialogues: Michel Henry on Dionysus and the Crucified.Joshua M. Hall - forthcoming - Culture and Dialogue.
    Perhaps owing to frictions between his Christological worldview and the dominant secularism of contemporary French thought as taken up in the U.S., and persistent worries about a seeming solipsism in his phenomenology, Michel Henry's innovative contributions to aesthetics have received unfortunately little attention in English. The present investigation addresses both issues simultaneously with a new interpretation of his recently-translated 1996 interview, “Art and Phenomenology.” Inspired by this special issue’s theme, “French Thought in Dialogue,” it emphasizes four levels of dialogue in (...)
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  5. An Intimate Trespass of Peregrina Chorines: Dancing with María Lugones and Saidiya Hartman.Joshua M. Hall - forthcoming - Philosophy in the Contemporary World.
    A recent (2020) special issue in Critical Philosophy of Race dedicated to María Lugones illustrates and thematizes the continuing challenge of (re)constructing coalitions among Latina and Black feminists and their allies. As one proposed solution to this challenge, in their guest editors’ introduction to that special issue, Emma Velez and Nancy Tuana suggest an interpretive “dancing with” Lugones. Drawing on my own “dancing-with” interpretive method (which significantly predates that special issue), in the present article I choreograph an interpretive duet between (...)
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  6. Dancing-With: A Method for Poetic Social Justice.Joshua M. Hall - forthcoming - In Rebecca L. Farinas, Craig Hanks, Julie C. Van Camp & Aili Bresnahan (eds.), Dance and Philosophy. London:
    This chapter outlines a new theoretical method, which I call “dancing-with,” emerging from the process of writing my dissertation and the book manuscript that followed it. Defined formally, a given theorist X can be said to “dance-with” with a second theorist Y insofar as X “choreographs” an interpretation of Y which is both true to Y and Y’s historical communities, and also meaningful and actionable (i.e. facilitating social justice) for X and X’s historical communities. In this pursuit, the method of (...)
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  7. Dancing with Clio: History, Cultural Studies, Foucault, Phenomenology, and the emergence of Dance Studies as a Disciplinary Practice.Helena Hammond - forthcoming - In Ann R. David, Michael Huxley & Sarah Whatley (eds.), Dance Fields: Staking a claim for Dance Studies in the 21st century. Binsted, Hampshire: Dance Books. pp. 220-248.
    This chapter is particularly concerned with the status of history, dance history especially, within Dance Studies. It asks what has befallen the more recent status of history, once an epistemological support at a critical stage in Dance Studies’s early development, now that Dance Studies is better established, relatively speaking, within the academy. Is history so much scaffolding which, having fulfilled its purpose in enabling the disciplinary plant to take root, is to be dismantled and, if not actually discarded, at least (...)
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  8. Pragmatist Philosophy and Dance: Interdisciplinary Dance Research in the American South by Eric Mullis.Aili Bresnahan - 2022 - Transactions of the Charles S. Peirce Society 57 (3):402-405.
    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 (...)
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  9. Skilled performance in Contact Improvisation: the importance of interkinaesthetic sense of agency.Catherine Deans & Sarah Pini - 2022 - Synthese 200 (2):1-17.
    In exploring skilled performance in Contact Improvisation, we utilize an enactive ethnographic methodology combined with an interdisciplinary approach to examine the question of how skill develops in CI. We suggest this involves the development of subtleties of awareness of intra- and interkinaesthetic attunement, and a capacity for interkinaesthetic negative capability—an embodied interpersonal ‘not knowing yet’—including an ease with being off balance and waiting for the next shift or movement to arise, literally a ‘playing with’ balance, falling, nearly falling, momentum and (...)
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  10. Rechoreographing Homonymous Partners: Rancière's Dance Education from Loïe Fuller.Joshua M. Hall - 2022 - Journal of Aesthetic Education 56 (3):44-62.
    Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means for him either a (...)
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  11. On the edge of undoing: Ecologies of agency in Body Weather.Sarah Pini - 2022 - In Kath Bicknell & John Sutton (eds.), Collaborative Embodied Performance: Ecologies of Skill. Bloomsbury Academic. pp. 35-52.
    This chapter explores the practice of Body Weather (BW), a postmodern dance methodology, addressing how BW performers experience and enact agency in this context of practice. Adopting a cognitive ecological, ethnographic, and phenomenological approach, this work focuses on the creation of AURA NOX ANIMA (2016) – a short dance film directed by Sydney-based visual artist Lux Eterna and filmed on the sandy dunes in Anna Bay, New South Wales, Australia – to underscore the role played by the physical and cultural (...)
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  12. Dance Ethnography: An Analysis on Aeta Ambala Tribe of Barangay Tubo-tubo, Bataan.Jay Mark D. Sinag - 2022 - Universal Journal of Educational Research 1 (4):218-231.
    Philippine folk dances can be dated back as early as the pre-colonial period which inherited by our forefathers and passed through several generations of Filipinos. These traditional dances are considered treasures of our homeland for they depict the humble beginnings of our native countrymen and serve as a symbol of national identity. The study utilized focused ethnography and was limited on the documentation of the ethnic dance of Ayta Ambala’s tribe, their cultural values along with its cultural heritage situated at (...)
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  13. Crossmodal Aesthetics: How Music and Dance Can Match.Solveig Aasen - 2021 - Philosophical Quarterly 71 (2):223-240.
    The relationship between music and dance can sometimes be a ‘match’, a remarkable fit between the audible manifestation that music is and the visual or kinaesthetic manifestation that dance is. A match between two things seems to require a common measure with respect to which the match obtains. What can this be for two so different phenomena as music and dance? I argue that the most promising answer is: movement. This answer will not be satisfactory unless the movement of music (...)
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  14. Bodies in skilled performance: how dancers reflect through the living body.Camille Buttingsrud - 2021 - Synthese 199 (3-4):7535-7554.
    Dancers and dance philosophers report on experiences of a certain form of sense making and bodily thinking through the dancing body. Yet, discussions on expertise and consciousness are often framed within canonical philosophical world-views that make it difficult to fully recognize, verbalize, and value the full variety of embodied and affective facets of subjectivity. Using qualitative interviews with five professional dancers and choreographers, I make an attempt to disclose the characteristics of what I consider to be a largely overseen state (...)
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  15. A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport).Julia F. Christensen, Meghedi Vartanian, Luisa Sancho-Escanero, Shahrzad Khorsandi, S. H. N. Yazdi, Fahimeh Farahi, Khatereh Borhani & Antoni Gomila - 2021 - Frontiers in Psychology 11.
    “Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the (...)
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  16. Dance and Philosophy.Rebecca L. Farinas, Craig Hanks, Julie C. Van Camp & Aili Bresnahan (eds.) - 2021 - London: Bloomsbury.
    Craig Hanks and Aili Bresnahan are contributing editors only -- not main editors.
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  17. On Justice as Dance.Joshua Hall - 2021 - Eidos. A Journal for Philosophy of Culture 5 (4):62-78.
    This article is part of a larger project that explores how to channel people’s passion for popular arts into legal social justice by reconceiving law as a kind of poetry and justice as dance, and exploring different possible relationships between said legal poetry and dancing justice. I begin by rehearsing my previous new conception of social justice as organismic empowerment, and my interpretive method of dancing-with. I then apply this method to the following four “ethico-political choreographies of justice”: the choral (...)
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  18. Unplanned Coordination: Ensemble Improvisation as Collective Action.Ali Hasan & Jennifer Kayle - 2021 - Journal of Social Ontology 7 (2):143-172.
    The characteristic features of ensemble dance improvisation (EDI) make it an interesting case for theories of intentional collective action. These features include the high degree of freedom enjoyed by each individual, and the lack of fixed hierarchical roles, rigid decision procedures, or detailed plans. In this article, we present a “reductive” approach to collective action, apply it to EDI, and show how the theory enriches our perspective on this practice. We show, with the help of our theory of collective action, (...)
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  19. What Do We Lose to a Video?Ian Heckman - 2021 - In Rebecca L. Farinas & Julie C. Van Camp (eds.), The Bloomsbury Handbook of Dance and Philosophy. London, UK: pp. 339-347.
    I think we have come to a point in the current state of technology where we, as appreciators, makers, and producers of live performances, must ask ourselves an important question. We must ask ourselves whether, in a world where we can easily access videotapes of performances, there is something important that we obtain through our engagement with live performances that we cannot get in our engagement with even the best quality videos. The performing arts, as artforms which perform with real (...)
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  20. Teaching Dance and Philosophy to Non Majors: The Integration of Movement Practices and Thought Experiments to Articulate Big Ideas.Megan Brunsvold Mercedes & Kristopher G. Phillips - 2021 - In Rebecca Farinas & Julie Van Camp (eds.), The Bloomsbury Handbook of Dance and Philosophy. London, UK: pp. 20-35.
    Philosophers sometimes wonder whether academic work can ever be truly interdisciplinary. Whether true interdisciplinarity is possible is an open question, but given current trends in higher education, it seems that at least gesturing toward such work is increasingly important. This volume serves as a testament to the fact that such work can be done. Of course, while it is the case that high-level theoretical work can flourish at the intersection of dance and philosophy, it remains to be seen how we (...)
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  21. Expanding empathic and perceptive awareness: The experience of attunement in Contact Improvisation and Body Weather.Sarah Pini & Catherine E. Deans - 2021 - Performance Research: A Journal of the Performing Arts 26 (3):106-113.
    Dance as a complex human activity is a rich test case for exploring perception in action. In this article, we explore a 4E approach to perception/action in dance, focussing on the intersubjective and ecological aspects of kinaesthetic attunement and their capacity to expand empathic and perceptive experience. We examine the question: what are the ways in which the performance ecology co-created in different dance practices influences empathic and perceptive experience? We adopt an enactive ethnographic and phenomenological approach to explore two (...)
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  22. Transmitting Passione: Emio Greco and the Ballet National de Marseille.Sarah Pini & John Sutton - 2021 - In Jill Nunes Jensen Kathrina Farrugia-Kriel (ed.), The Oxford Handbook of Contemporary Ballet. Oxford, UK: pp. 594-612.
    This work addresses the case of the Ballet National de Marseille (BNM) and the 2017 recreation of the piece Passione, created by the artistic directors Emio Greco and Pieter C. Scholten. This study, informed by a phenomenological approach, adopts ethnographic methods, including participant observation, in-depth interviews, and one researcher’s direct involvement with the practices of enculturation and enskillment in this dance form. It investigates how the dancers of the BNM articulate their diverse forms of agency in relation to the choreographer’s (...)
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  23. Dance as Embodied Ethics.Aili Bresnahan, Einav Katan Schmid & Sara Houston - 2020 - In Laura Cull Ó Maoilearca & Alice Lagaay (eds.), The Routledge Companion to Performance Philosophy. Abingdon, UK: pp. 379-386.
    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 (...)
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  24. Judith Butler and a Pedagogy of Dancing Resilience.Joshua M. Hall - 2020 - Journal of Aesthetic Education 54 (3):1-16.
    This essay is part of a larger project in which I construct a new, historically-informed, social justice-centered philosophy of dance, centered on four central phenomenological constructs, or “Moves.” This essay in particular is about the fourth Move, “resilience.” More specifically, I explore how Judith Butler engages with the etymological aspects of this word, suggesting that resilience involves a productive form of madness and a healthy form of compulsion, respectively. I then conclude by showing how “resilience” can be used in the (...)
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  25. Afro-Latin Dance as Reconstructive Gestural Discourse: The Figuration Philosophy of Dance on Salsa.Joshua M. Hall - 2020 - Research in Dance Education 22:1-15.
    The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter in the dance (...)
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  26. iZombie Cyborg Dancers: Rechoreographing Smartphone Abusers.Joshua M. Hall - 2020 - Philosophy in the Contemporary World 26 (1):105-126.
    Compulsive smartphone users’ psyches, today, are increasingly directed away from their bodies and onto their devices. This phenomenon has now entered our global vocabulary as “smartphone zombies,” or what I will call “iZombies.” Given the importance of mind to virtually all conceptions of human identity, these compulsive users could thus be productively understood as a kind of human-machine hybrid entity, the cyborg. Assuming for the sake of argument that this hybridization is at worst axiologically neutral, I will construct a kind (...)
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  27. Time Course of Creativity in Dance.David Kirsh, Catherine J. Stevens & Daniel W. Piepers - 2020 - Frontiers in Psychology 11.
    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 (...)
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  28. The arts of action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  29. Attentional Engines: A Perceptual Theory of the Arts.William P. Seeley - 2020 - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
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  30. Three Kinds of Movement.Barry Allen - 2019 - Midwest Studies in Philosophy 44 (1):231-238.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 231-238, December 2019.
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  31. Algunos esbozos sobre el modo de ser de la obra performática.Carlos Eduardo Sanabria Bohórquez - 2019 - In Carlos Eduardo Sanabria Bohórquez & Sheyla Lisseth Yurivilca Aguilar (eds.), Aproximaciones teóricas a la danza. Bogota, Colombia: pp. 11-20.
    Los intentos de delimitación que se presentan a continuación, con motivo del arte danzario como forma de obra de arte performática o como instancia de lo performático, atienden a algunos cuestionamientos propuestos a la reflexión sobre el arte, por parte de algunas prácticas y fenómenos artísticos de la década de 1960 y que se relacionan con prácticas de la primera mitad del siglo XX. Son fenómenos artísticos que involucran la espacialidad, la corporeidad y el movimiento de quienes convergen con motivo (...)
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  32. Aproximaciones teóricas a la danza.Carlos Eduardo Sanabria Bohórquez & Sheyla Lusseth Yurivilca Aguilar - 2019 - Bogota, Colombia: Fundación Integrando Fronteras & Idartes.
    Aproximaciones teóricas a la danza es producto de un trabajo investigativo conjunto que permite la circulación del conocimiento producido por distintos actores involucrados en el campo de la danza en Colombia. Para la Red de Investigación Cuerpo Danza Movimiento, esta publicación es un logro investigativo colectivo que ofrece una visión del conjunto de esfuerzos y perspectivas actuales sobre la danza en Colombia y en otras latitudes en donde este arte se ha ido convirtiendo en un objeto de estudio específico. En (...)
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  33. Perceiving Live Improvisation in the Performing Arts.Aili Bresnahan - 2019 - In Dena Shottenkirik, Manuel Curado & Steven S. Gouveia (eds.), Perception, Cognition, and Aesthetics. London, UK: pp. 106-119.
    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 (...)
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  34. Dance Rhythm.Aili Bresnahan - 2019 - In Peter Cheyne, Andy Hamilton & Max Paddison (eds.), The Philosophy of Rhythm: Aesthetic, Music, Poetics. Oxford: pp. 91-98.
    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 (...)
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  35. Is Tap Dance a Form of Jazz Percussion?Aili Bresnahan - 2019 - Midwest Studies in Philosophy 44 (1):183-194.
    Midwest Studies In Philosophy, EarlyView.
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  36. Beauty in Disability: An Aesthetics for Dance and for Life.Aili Bresnahan & Michael Deckard - 2019 - In Karen Bond (ed.), Dance and Quality of Life, Social Indicators Research Series, Vol. 73. Netherlands: pp. 185-206.
    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 (...)
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  37. Some Stabs at the Ontology of Dance.Noël Carroll - 2019 - Midwest Studies in Philosophy 44 (1):70-80.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 70-80, December 2019.
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  38. Dances, Danceworks, and Choreographic Works: A Plea for Conceptual Clarity.Renee M. Conroy - 2019 - Midwest Studies in Philosophy 44 (1):7-20.
    Midwest Studies In Philosophy, EarlyView.
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  39. Dance Seen and Dance‐Screened.David Davies - 2019 - Midwest Studies in Philosophy 44 (1):117-132.
    Midwest Studies In Philosophy, EarlyView.
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  40. Core Aspects of Dance: Aristotle on Positure.Joshua M. Hall - 2019 - Journal of Aesthetic Education 53 (1):1-16.
    [First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance for Aristotle (...)
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  41. Sociohistorical Self-Choreography: A Second Dance with Castoriadis.Joshua M. Hall - 2019 - Culture and Dialogue 7 (1):87-104.
    Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self-choreography of (...)
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  42. Imaginatively Grounded Figures: Dancing with Castoriadis.Joshua Maloy Hall - 2019 - PhaenEx 13 (1):86-115.
    This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ Ontology (...)
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  43. Rhythm and Movement: The Conceptual Interdependence of Music, Dance, and Poetry.Andy Hamilton - 2019 - Midwest Studies in Philosophy 44 (1):161-182.
    Midwest Studies In Philosophy, EarlyView.
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  44. Kierkegaard's Dancers of Faith and of Infinity.Alexander Jech - 2019 - Kierkegaard Studies Yearbook 24 (1):29-58.
    The goal of Fear and Trembling is to illuminate the difficulty of faith. At an important juncture, he claims that both types of knight are dancers, but only the knight of faith can dance perfectly, doing what perhaps no dancer can do: he does not “hesitate” in the moment between landing from his leap and assuming the position from which to reengage with finitude. This analogy has been given small attention in the literature. Given Kierkegaard’s surprisingly precise grasp of classical (...)
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  45. Thought in Action: Expertise and the Conscious Mind. [REVIEW]Anton Killin - 2019 - British Journal of Aesthetics 59 (1):95-98.
    Thought in Action: Expertise and the Conscious MindMonteroBarbara Gailoup. 2016. pp. 304. £35.00.
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  46. Audiences Appreciating Dances.Graham McFee - 2019 - Midwest Studies in Philosophy 44 (1):92-116.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 92-116, December 2019.
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  47. Can There Be Conceptual Dance?Anna Pakes - 2019 - Midwest Studies in Philosophy 44 (1):195-212.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 195-212, December 2019.
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  48. Dance as Art, Theatre, and Practice: Somaesthetic Perspectives.Richard Shusterman - 2019 - Midwest Studies in Philosophy 44 (1):143-160.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 143-160, December 2019.
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  49. On Dancers as Coauthors.Paul Thom - 2019 - Midwest Studies in Philosophy 44 (1):133-142.
    Midwest Studies In Philosophy, EarlyView.
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  50. Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance.Julie C. Van Camp - 2019 - British Journal of Aesthetics 59 (3):348-351.
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