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  1. Claire Colebrook (2005). How Can We Tell the Dancer From the Dance?: The Subject of Dance and the Subject of Philosophy. Topoi 24 (1):5-14.
    One of the most important aspects of Gilles Deleuzes philosophy is his criticism of the traditional concept of praxis. In Aristotelian philosophy praxis is properly oriented towards some end, and in the case of human action the ends of praxis are oriented towards the agents good life. Human goods are, for both Aristotle and contemporary neo-Aristotelians, determined by the potentials of human life such as rationality, communality, and speech. Deleuzes account of action, by contrast, liberates movement from an external end. (...)
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  2. Ivar Hagendoorn (2004). Some Speculative Hypotheses About the Nature and Perception of Dance and Choreography. Journal of Consciousness Studies 11 (3-4):3-4.
    Ever since I first saw a dance performance I have wondered why it is that I am sometimes fascinated and touched by some people moving about on a stage, while at other times it leaves me completely indifferent. I will argue that an answer to this question has to be searched for in the way sensory stimuli are processed in the brain. After all, all our actions, perceptions and feelings are mediated and controlled by the brain. The thoughts and feelings (...)
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  3. Beauquel Julia, Carroll Noel, Elgin Catherine Z., Karlsson Mikael M., Kintzler Catherine, Louis Fabrice, McFee Graham, Moore Margaret, Pouillaude Frédéric, Pouivet Roger & Van Camp Julie (eds.) (2010). Philosophie de la danse. Aesthetica, Presses Universitaires de Rennes.
    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 (...)
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  4. Shen-yi Liao (2014). Explanations: Aesthetic and Scientific. Royal Institute of Philosophy Supplement 75:127-149.
    Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can be used (...)
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  5. Amy Mullin (2008). Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Valuesby Kimerer LaMothe. [REVIEW] Hypatia 23 (3):221-223.
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  6. Markus Schrenk (forthcoming). IS PROPRIOCEPTIVE ART POSSIBLE? In Graham George Priest & Damon Young (eds.), Philosophy and the Martial Arts.
    I argue for the possibility of a proprioceptive art in addition to, for example, visual or auditory arts, where aspects of some martial arts will serve as examples of that art form. My argument is inspired by a thought of Ted Shawn’s, one of the pioneers of American modern dance: "Dance is the only art wherein we ourselves are the stuff in which it is made.” In a first step, I point out that in some practices of martial arts (in (...)
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  7. John Sutton (2005). Moving and Thinking Together in Dance. In Robin Grove, Kate Stevens & Shirley McKechnie (eds.), Thinking in Four Dimensions: creativity and cognition in contemporary dance. Melbourne UP. 51-56.
    The collaborative projects described in this e-book have already produced thrilling new danceworks, new technologies, and innovative experimental methods. As the papers collected here show, a further happy outcome is the emergence of intriguing and hybrid kinds of writing. Aesthetic theory, cognitive psychology, and dance criticism merge, as authors are appropriately driven more by the heterogeneous nature of their topics than by any fixed disciplinary affiliation. We can spy here the beginnings of a mixed phenomenology and ethnography of dance practice (...)
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