Abstract

Goodman gave us resources for recognizing art; he enumerated “symptoms of the aesthetic” or features which explain something’s functioning as a work of art. But that’s not enough to tell us how a work of art signifies or bears meaning. I apply Goodman’s notion of exemplification to address the question of how dances signify. It is too often assumed that if dance doesn’t fit the model of natural language then it can’t have cognitive content; this essay is concerned with showing how it can. I consider Yvonne Rainer’s dance Trio A, an archetype of the pedestrian postmodem dance of the 1960s. Although at first sight it appears to be an instance of ordinary movement, Trio A is not ordinary movement simpliciter. I argue that Trio A conveys what it does by representing something we take to be pedestrian movement, and it represents by exemplifying certain features we associate with ordinary movement. Representation and signification cannot be equated and what is signified depends not only on what is represented but on how it comes to be represented by the work.