David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
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|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
Edmund Burke (2015). A Philosophical Enquiry Into the Origin of Our Ideas: Of the Sublime and the Beautiful. Oxford University Press Uk.
John Stuart Mill (2009). Utilitarianism. In Steven M. Cahn (ed.), Exploring Philosophy: An Introductory Anthology. Oxford University Press
John Stuart Mill (1962). Utilitarianism. Cleveland, World Pub. Co..
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.
Similar books and articles
Emily Cross & Luca Ticini (2012). Neuroaesthetics and Beyond: New Horizons in Applying the Science of the Brain to the Art of Dance. [REVIEW] Phenomenology and the Cognitive Sciences 11 (1):5-16.
Jonathan Owen Clark (2012). Dance and Subtraction: Notes on Alain Badiou's Inaesthetics. Dance Research Journal 42 (03):50-64.
Colleen Dunagan (2005). Dance, Knowledge, and Power. Topoi 24 (1):29-41.
Valentina Litvinoff (1974). Lessons From the Dancing Ground to the Studio: Implications of Pueblo Indian Dance for Modern Dance. Journal of Aesthetics and Art Criticism 32 (3):397-407.
Gary Iseminger (2004). The Aesthetic Function of Art. Cornell University Press.
Jill Sigman (2000). How Dances Signify. Journal of Philosophical Research 25:489-533.
Mihaly Csikszentmihalyi (1990). The Art of Seeing: An Interpretation of the Aesthetic Encounter. Getty Center for Education in the Arts.
Thomas F. DeFrantz (2005). African American Dance - Philosophy, Aesthetics, and 'Beauty'. Topoi 24 (1):93-102.
Suzanne Jaeger (2009). Finding a Pedagogical Framework for Dialogue About Nudity and Dance Art. Journal of Aesthetic Education 43 (4):pp. 32-52.
David E. W. Fenner (2008). Formalism and the Consumable Arts. Journal of Philosophical Research 33:127-141.
Christy Mag Uidhir & Cameron Buckner (2014). A Portrait of the Artist as an Aesthetic Expert. In Gregory Currie, Matthew Kieran & Aaron Meskin (eds.), Aesthetics and the Sciences. Oxford University Press
Harold Osborne (1972). Aesthetics. London,Oxford University Press.
Kenneth R. Westphal (1997). ‘Hegel, Formalism, and Robert Turner’s Ceramic Art’. Jahrbuch für Hegelforschung 3:259–283.
Betty Block & Judith Lee Kissell (2001). The Dance: Essence of Embodiment. Theoretical Medicine and Bioethics 22 (1):5-15.
Kathleen Kadon Desmond (2011). Ideas About Art. Wiley-Blackwell.
Added to index2011-10-26
Total downloads40 ( #83,639 of 1,725,989 )
Recent downloads (6 months)3 ( #231,316 of 1,725,989 )
How can I increase my downloads?