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. pp. 51-56 (2005)
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 and choreographic cognition, which is deeply informed and empirically inspired by the best current theory in the sciences of the embodied mind [footnote 1]. These sciences must themselves increasingly deal with culture and cognition all at once: questions about pleasure in movement, habit and skill, and kinaesthetic memory, for example, require neuroscientific, physiological, psychological, sociological, and anthropological investigation simultaneously. These then are essentially collaborative enterprises, and the active interpenetration of the concerns of dance practitioners and academic researchers is one remarkable success of Unspok en Knowledges and Conceiving Connections
Keywords Dance  Extended mind  Distributed cogntion
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