En posant avec clarté des questions de philosophie de l’esprit, d’ontologie et d’épistémologie, ce livre témoigne à la fois de l’intérêt réel de la danse comme objet philosophique et du rôle unique que peut jouer la philosophie dans une meilleure compréhension de cet art. Qu’est-ce que danser ? Que nous apprend le mouvement dansé sur la nature humaine et la relation entre le corps et l’esprit ? À quelles conditions une œuvre est-elle correctement interprétée par les danseurs et bien identifiée (...) par les spectateurs ? (shrink)

The idea that choreographic movements communicate to audiences by kinetic transfer is a commonplace among choreographers, dancers, and dance educators.1 Moreover, most dance lovers can cite their own favorite examples—the bounciness of the Royal Danish Ballet, the stomping of Bharata Natyam performers, the stag leaps in the thundering Greek chorus in Martha Graham’s Night Journey, or the contagious rhythmic transfer that takes over our feet when we watch classic tap dancers like Buster Brown. The perceptual capacity for kinetic transfer was (...) succinctly identified and theorized by John Martin. He called this capacity metakinesis. Martin was influenced by Theodor Lipps’s earlier theory of empathy. Lipps introduced his notion of empathy as a way to characterize our muscular responses to the perceived internal dynamics of inanimate objects under stress and tension, for example, weight-bearing columns and cantilevered boulders. Martin argued analogously about dance. -/- In what follows, we explore and evaluate three general challenges to the existence and significance of kinetic transfer in dance: challenges to the very possibility of kinesthetic understanding in dance, questions about the relevance of kinetic transfer to explanations of artistic communication in dance, and concerns about the relevance of kinetic transfer to evaluative questions germane to dance appreciation. We do not subscribe to every aspect of Martin’s story. Nevertheless, we think that Martin was exceedingly prescient. His speculations appear to be supported by recent research in neuroscience and psychology.We feel as a result that Martin’s comments are highly suggestive of what might be going on in ordinary dance consumers (or at least moderately informed ones). Critically, however, we do not model these contributions in terms of a discrete, stand-alone kinesthetic sense as Martin did. Rather, we argue that metakinesis and kinetic transfer refer to a general crossmodal sensorimotor perceptual capacity that contributes to our understanding and experience of actions in everyday contexts. Nor do we claim that audiences recognize and understand dance solely on the basis of kinetic transfer. Rather, we argue that this sensorimotor capacity is a contributing factor in our perceptual engagement with dance works, one of a range of tools ready to hand to choreographers and dancers for conveying information critical to the content of their works. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 105-112 [Access article in PDF] Philosophy of Art Today:Calling Frameworks into QuestionBeyond Aesthetics: Philosophical Essays, by Noël Carroll. Cambridge: Cambridge University Press, 2001, 450 pp., $29.00. Merit: Aesthetic And Ethical, by Marcia Eaton. Oxford University Press, 2001, 252 pp., $52.00. But Is It Art? by Cynthia Freeland. Oxford University Press, 2001, 231 pp., $11.95. In his magisterial study of modern (...) aesthetics, The Theory of the Arts, Francis Sparshott observed that while "normal science" is what T.S. Kuhn called "hackwork" because it is carried out within a framework it never calls into question, there is — in that same sense — no such thing as "normal art" (Princeton: Princeton University Press, 1982). The twenty years since thepublication of Sparshott's book have done nothing but underscore this point. No theme in the arts has been more prominent than the challenging of existing frameworks. Equally, no project in the philosophy of art has proven more important than the remapping and expanding of prior conceptual boundaries. In both the arts and the philosophy of art, the new norm is the foreswearing of the normal. And just as contemporary art challenges the concept we have of art itself, contemporary aesthetics challenges the traditional notion we have of aesthetics. Of late, this challenge has been vigorous, persistent, heated. Yet, although it has produced some affronts to establishedsensibilities, it has not led to the wholesale undoing of prior advances in aesthetic theory, as many had feared.It is this development, rather than any particular movement or advance within the field, that stands out as the distinguishing characteristic of aesthetics today. Similar assaults on basic assumptions, disciplinary borders, and theoretical frameworks have raged in neighboring academic domains where they have inspired debilitating internecine conflict and conceptual disarray. Postmodernist attacks on the very possibility of theoretical coherence have been the most notorious, but far from the exclusive, examples of effects of this sort. Similar skeptical developments have proven corrosive in disciplines from anthropology to theology. Yet the field of aesthetics has generally welcomed framework challenge. It has not been driven by it into warring camps, and has taken this challenge as a positive contribution to the field's strength and importance.Three excellent recent works illustrate different ways in which the a-normality of contemporary aesthetics is being played out, and demonstrate [End Page 105] why it is both constructive and worthwhile. Cynthia Freeland's But Is It Art? is presented as an introduction to art theory, but it is really a provocative analysis of ways in which the visual arts have blown out their parameters and the demands this development places on intelligent response. Noël Carroll's Beyond Aesthetics takes as its theme the idea that, to make proper sense of the present world of aesthetic phenomena, we must "reach beyond aesthetic theories of art and their various prohibitions." And Marcia Eaton's Merit, Aesthetic and Ethical argues that the truly important issues we encounter in making sense of aesthetic experience require an integration of normative considerations formerly thought of as discretely ethical or aesthetic. Each of these works looks at the ways art and aesthetics have forced us to think differently about both of them, due to the way each has recently evolved. Yet none of them takes the radical view that all of what happened before is rendered insignificant by the revolutionary novelty of current work. Instead, these works are syncretic in just the way that contemporary philosophy of art is syncretic; they show how apparent discontinuities can be squared with the general thrust of the best historical work.The picture that emerges from these (as well as many other recent works) is this: Aesthetics today is a discipline pleased both to rethink its own basic concepts and to examine its connections to a variety of regions of concern not traditionally regarded as its province. A century ago, aestheticians were content to think of themselves as custodians of grand and noble values — principally the values of beauty and... (shrink)

The Bible has influenced contemporary culture both positively and negatively. The present volume is a collection of papers that were discussed at an international colloquium on the use of the Bible in Ethics in the Department of Biblical Studies at the University of Sheffield in April 1995. Participants came from many parts of the world and from different backgrounds, and the papers reflect their varied interests and the contexts in which they work. The contributors, in addition to the three editors, (...) are John Barton, Bruce Birch, Mark Brett, Mark Chapman, David Clines, Philip Davies, Cheryl Exum, Stephen Fowl, Norman Gottwald, John Haldane, Walter Houston, Sharon Ringe, Chrisopher Rowland, Lisa Sowle Cahill and Gerald West. (shrink)

It is critical to remember details about meetings with healthcare providers. Forgetting could result in inadequate knowledge about ones' health, non-adherence with treatments, and poorer health outcomes. Hearing the health care provider plays a crucial role in consolidating information for recall. The recent COVID-19 pandemic has meant a rapid transition to videoconference-based medicine, here described as telehealth. When using telehealth speech must be filtered and compressed, and research has shown that degraded speech is more challenging to remember. Here we present (...) preliminary results from a study that compared memory for health information provided in-person to telehealth. The data collection for this study was stopped due to the pandemic, but the preliminary results are interesting because the pandemic forced a rapid transition to telehealth. To examine a potential memory deficit for health information provided through telehealth, we presented older and younger adults with instructions on how to use two medical devices. One set of instructions was presented in-person, and the other through telehealth. Participants were asked to recall the instructions immediately after the session, and again after a 1-week delay. Overall, the number of details recalled was significantly lower when instructions were provided by telehealth, both immediately after the session and after a 1-week delay. It is likely that a mix of technological and communication strategies by the healthcare provider could reduce this telehealth memory deficit. Given the rapid transition to telehealth due to COVID-19, highlighting this deficit and providing potential solutions are timely and of utmost importance. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure (...) in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

James Shelley has raised the important question of whether it is possible to have aesthetic experiences of imperceptible artworks. This issue is important for determining whether or not the aesthetic theory of art can deal with certain cases of conceptual art. Shelley has argued that it is possible to have aesthetic experiences of imperceptibilia. And in this article, I concur with him, though for reasons different from his. Nevertheless, I go on to argue that this still fails to vindicate the (...) aesthetic theory of art. (shrink)

This comprehensive introductory text with readings offers a historical overview of all major subdivisions of Western Philosophy perspectives--including both the analytic and Continental traditions--as well as Eastern philosophy, postcolonial philosophy, and feminist philosophy. Written in an engaging and captivating style, it makes philosophy accessible without oversimplifying the material, and shows that philosophy's powerful ideas affect the lives of real people.

This chapter contains sections titled: Essence and Expression: Danto's Philosophy of Art The End of Art: Danto's Philosophy of Art History A Critical Examination of Danto's Philosophy of Art Concluding Remarks.

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure (...) in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

This article focuses on the arguments that Arthur Danto has advanced for alleging that the developmental history of art is over. The author is skeptical of Danto's conclusion and maintains that Danto has failed to demonstrate that art history is necessarily closed. The author also contends that Danto's end-of-art thesis is better construed as a specimen of art criticism than as an example of the speculative philosophy of art history.

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing (...) with illustrative examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social (...) issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

Both my deflationary approach to aesthetic experience and what I call moderate moralism have been challenged recently in the pages of the British Journal of Aesthetics by Paisley Livingston, Robert Stecker, and George Dickie. In this essay, I attempt to deal with their objections while also trying to move the debate to new ground.

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

This article focuses on the arguments that Arthur Danto has advanced for alleging that the developmental history of art is over. The author is skeptical of Danto's conclusion and maintains that Danto has failed to demonstrate that art history is necessarily closed. The author also contends that Danto's end-of-art thesis is better construed as a specimen of art criticism than as an example of the speculative philosophy of art history.

Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society.

This essay argues that the concept of ‘reasonableness’plays an important role in Scanlon's, Rawls's, and Barry's theories of justice (or morality). The relationship between moral motivation and reasonableness is critically analysed. Specifically, the paper questions whether it is plausible to impute to the agents of construction the desire ‘to justify our actions to others on impartial terms’. It also argues that most of the work is done by the assumption that people are reasonable rather than by the contractarian formulation. Indeed, (...) the paper argues, the argument could proceed entirely by making explicit and arguing for the moral assumptions embedded in the concept of reasonableness [1]. (shrink)

Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.