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American Society for Aesthetics Graduate E-Journal 7 (1) (2015)
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Abstract

The way we access dance is changing as the form is now widely viewed via digital transmission and documentation. This paper considers the ontological impact of this cultural shift. It sets out to challenge the view that dance works are accessible only through live performance. Adopting a non-realist ontological perspective,, I suggest that the way we relate to screenings and recordings of dance works impacts on the ontological status of the form, thus problematising existing schemata and calling for further philosophical consideration.

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References found in this work

The Ontology of Art and Knowledge in Aesthetics.Amie L. Thomasson - 2005 - Journal of Aesthetics and Art Criticism 63 (3):221–229.
Making Tracks: The Ontology of Rock Music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401–414.
.Peter J. Richerson & Lesley Newson - 2009 - Oxford University Press.
Unmarked: The Politics of Performance.Peggy Phelan - 1994 - Journal of Aesthetics and Art Criticism 52 (4):491-492.

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