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  1. Kinaesthetic Empathy as Aesthetic Experience of Music.Jin Hyun Kim - 2015 - Les Cahiers Philosophiques de Strasbourg 38:119-138.
    Bien que le rôle dans l’expérience esthétique des kinesthèses remontant au cycle action-perception du processus de création artistique soit reconnu par la théorie neurocognitive de l’esthétique, on n’a pas encore dissocié les contributions respectives des sensations corporelles et de la simulation interne, deux dimensions distinguées par T. Lipps. Pour désambiguer la part de l’empathie kinesthésique dans l’expérience esthétique de la musique, on a comparé les enregistrements des micro-gestes d’exécution de musiciens avec leur compte-rendu de l’expressivité musicale éprouvée lors de l’observation (...)
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  • Rethinking Veridicality: Motor Response, Empirical Evidence, and Dance Appreciation.Ian Heckman - 2023 - Journal of Aesthetics and Art Criticism 81 (1):57-68.
    Recent debates in the philosophy of dance have focused on the relationship between motor response and dance appreciation. Some philosophers argue that motor responses to dances are an important part of dance appreciation. Proponents of such a claim are often backed with support from cognitive science. But it has not remained uncontroversial. Despite its controversy, the concept of motor response remains under-analyzed. As a result, assumptions about the idea and purpose of motor response get borrowed from cognitive science. I argue (...)
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  • Acting Oneself as Another: An Actor’s Empathy for her Character.Shaun Gallagher & Julia Gallagher - 2020 - Topoi 39 (4):779-790.
    What does it mean for an actor to empathize with the character she is playing? We review different theories of empathy and of acting. We then consider the notion of “twofoldness”, which has been used to characterize the observer or audience perspective on the relation between actor and character. This same kind of twofoldness or double attunement applies from the perspective of the actor herself who must, at certain points of preparation, distinguish between the character portrayed and her own portrayal (...)
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