David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Phenomenology and the Cognitive Sciences 11 (1):59-68 (2012)
According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed
|Keywords||Dance Aesthetic Motor perception Kinesthesia Mirror neurons Ballet Calvo-Merino Hume|
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Edmund Burke (2015). Philosophical Enquiry Sublime & Beautiful: Of the Sublime and the Beautiful. Oxford University Press Uk.
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Citations of this work BETA
Alessandro Pignocchi (2010). How the Intentions of the Draftsman Shape Perception of a Drawing. Consciousness and Cognition 19 (4):887-898.
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