“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the (...) effects on the individual when the activity of “dancing” is enjoyedas a dancerwithindifferent dance domains(e.g.,professional/”high-art”type of dance,eroticdance,religiousdance,clubdancing,Dance Movement Therapy(DMT), and what is commonly known ashobby, recreationalorsocialdance), and (b) the effects on the individual within these different domains, as a dancer of thedifferent dance styles(solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body. (shrink)

Over and above differences in terminology and cultural background, we try to show that the quantum physicist, David Bohm, and poststructuralist philosopher, Gilles Deleuze, shared a common aim in thought: to replace the classical image of reality, which is still dominant in our time, with a metaphysics finally in agreement with the concepts and results of relativity, quantum mechanics andcontemporary biology. For these two thinkers, the world of things that are well individuated in space and time, and ordered according to (...) mechanical relations of cause and effect, are nothing but the momentary expression of an “undivided wholeness in flowing movement” that constitutes its true ontological ground. By means of this new metaphysics, the world of daily experience and classical science appears as the explicit manifestation or development of implicate order that undivided wholeness contains virtually in itself at deeper and deeper levels of envelopment and imbrication. The explicit world is the result of a process of repetition, deceleration and temporal stabilization, triggered by the interaction of our measuring instruments – technical devices, sensory organs and motors, a priori forms and categories of the understanding – with moving wholeness, the thinking and observing subject of which represents a momentary and partial reflection rather than a solitaryand autonomous fragment. By criticizing the classical image of thecorrespondence/adequation of being and thought, Bohm and Deleuzeshow that the thought seeking to grasp this wholeness in flowingmovement inevitably interacts with it – by modifying, recreating andaccomplishing it in one direction rather than another. Thought thusresembles a dance that tries to harmonize with the universal flux thatgenerates and carries it away in a single movement with matter. **************************************************************************************************** ***********************Para além das diferenças de terminologia e de background cultural, tenta-se aqui mostrar que o físico quântico David Bohm e o filósofo pós-estruturalista Gilles Deleuze tiverem um objetivo comum de pensamento: substituir a imagem clássica da realidade, ainda dominante em nossa época, por uma metafísica finalmente de acordo com os conceitos e resultados da relatividade, da mecânica quântica e da biologia contemporânea. Para estes dois pensadores, o mundo das coisas bem individuadas no espaço e no tempo, e ordenadas conforme as relações mecânicas de causa e efeito, não é nada outro que a expressão momentânea de uma “Totalidade indivisa em devir” que constitui seu verdadeiro fundamento ontológico. Pelo meio desta nova metafisica, o mundo da experiência cotidiana e da ciência clássica aparece como a manifestação explicita ou desenvolvida da ordem implícita que a totalidade indivisa contém virtualmente nela mesma em níveis de envolvimento e de imbricação sempre mais profundos. O mundo explícito é o resultado de um processo de repetição, desaceleração e estabilização temporal, desencadeado pela interação de nossos instrumentos de medição -- aparelhos técnicos, órgãos sensoriais e motores, formas “a priori” e categorias do entendimento – com uma totalidade movente no qual o sujeito pensante e observante representa um reflexo momentâneo e parcial ao invés de um fragmento solitário e autônomo. Ao criticar a imagem clássica da correspondência/adequação entre o ser e o pensamento, Bohm e Deleuze mostram finalmente que o pensamento que intenta capturar esta Totalidade em devir interage inevitavelmente com ela, modificando-a, recriando-a e realizando-a em uma direção ao invés de outra. O pensamento se aparenta assim a uma dança que tenta se harmonizar com o flux universal que o gera e o leva em um movimento só com a matéria.Palavras-chave: Bohm; Deleuze; totalidade indivisa em devir; física quântica; pós-estruturalismo; ontologia. (shrink)

Many books have been written on Greek dance. The fault which bedevils a large number of them is that their authors have tried to recreate the movements of the dances from the artistic evidence without taking into account the conventions of Greek vase-painting and sculpture. Other books, and they are the most useful, set out the literary and the artistic evidence without attempting to reconstruct the dances. Rarely, however, are the wider implications considered, and it is these which I (...) wish to discuss here. More analysis and discussion of the evidence for many of my statements is no doubt required, but the place for that is a book rather than an article which ranges over a comparatively large field. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Note From A Narcissist (Amores 1.11) OVID (Translated by Caleb M. X. Dance) Yoohoo! Yes! You! You do her hair. Right? Not like the one who does her legs or nails, right? You know where she goes, right? And you can let her know, like before, to rush those lovely toes— Oh! I mean her hair, to me. Oh, you’ve always been a friend! Right! Take this little (...) note to her tomor— Oh! and hand it to her. Understand? No delay! You’ve got a heart, right? You might be softer than you think and not as “plain Jane” as you think? I think you’ve felt a bit of love, no? You see it in me too, no? So— anyway, if she wants to know what I’m thinking, tell her I can’t wait to hold her close tonight. Right! Enough. My note will say the rest. Oh, it’s late! I’m blabbing. Go! No! Wait! Catch her in a good mood—when she’s free. Oh! but make her read it right away. Watch her eyes! And her face, reading. I mean as she reads. Oh, you learn a lot, even from dumb faces. Don’t be slow! When she’s read it, arion 27.1 spring/summer 2019 make her write right back. Lots. Tell her! It’s the worst when every page is filled with loads of empty space. She should pack them in—lines—so eyes linger on words in the margins. My eyes! No! Wait! Tell her not to tire fingers writing long. Let her only write: “Come!” No delay—I’ll praise these letters right away. I’ll dedicate them to... oh... you know, Lady Love herself, and I’ll note, “To Love: Ovid offers up these loyal saviors— you who just were scraps of paper.” 154 note from a narcissist... (shrink)

Tough Fronts takes the difficult issues in urban education head on by putting street-savvy students at the forefront of the discussion on how to best make successful changes for inner city schools. Individual chapters discuss scholarly depictions of black America, the social complexity of the teacher-student relationship, individual success stories of 'at-risk' programs, popular images of urban students, and implications for education policy. With close attention to the voices of individual students, this engaging book gives vitality and legitimacy to arguments (...) for school changes that have been lacking in previous discussions. (shrink)

Review article, based on Robert Sokolowski, ‘Introduction to Phenomenology’.

This article examines the use of an STS approach to a forensic science lab course for nonscience majors at a university college in British Columbia, Canada. The transdisciplinary nature of forensic science provides opportunities to emphasize the relationships between natural sciences, associated technologies, and societal issues. A number of lab experiments are described to illustrate pedagogically important features relating to the STS emphasis of this course. Benefits and drawbacks that have been encountered in this class are discussed.

Local food critics have recently argued that locavores, unaware of economic laws and principles, are ironically promoting a future characterized by less food security and more environmental destruction. In this paper, we critically examine the ways in which mainstream economics discourse is employed in arguments to undermine the proclaimed benefits of local food. We focus on several core concepts in economics—comparative advantage, scale, trade and efficiency—and show how they have been used to challenge claims about local food’s benefits in the (...) areas of economy, environment, food security, and food quality. After reviewing the arguments, we then evaluate some shortcomings that emerge from this reliance on economic logic and, importantly, we assess what local food proponents may take away from these critiques. We conclude by identifying several pathways for future research. (shrink)

In response to widespread concern about illegal drug use and the associated risk of the spread of HIV/AIDS, a study was undertaken to examine whether it was, in principle, feasible to conduct a trial providing heroin to dependent users in a controlled manner. Such a trial involves real ethical issues which are examined in this paper. The general issues examined are: should a trial be an experiment or an exercise in public policy?; acts and omissions; countermobilization; termination of a trial, (...) and payment for drugs and for a trial. The specific issues examined are: selection of trial participants; privacy; issues for staff working on a trial; coupling the trial with other treatment, and issues for researchers. A number of alternative approaches to the various ethical issues are presented and discussed. (shrink)

This work addresses the case of the Ballet National de Marseille (BNM) and the 2017 recreation of the piece Passione, created by the artistic directors Emio Greco and Pieter C. Scholten. This study, informed by a phenomenological approach, adopts ethnographic methods, including participant observation, in-depth interviews, and one researcher’s direct involvement with the practices of enculturation and enskillment in this dance form. It investigates how the dancers of the BNM articulate their diverse forms of agency in relation to the (...) choreographer’s artistic vision and demands. By looking at the specific case of the BNM staging of Passione, we can isolate some significant features of contemporary ballet’s trajectory as an emergent dance genre on the edge between innovation and tradition. (shrink)

In the last decade, a great variety and volume of scholarly work has appeared on mind-wandering, a mental process involving a vast range of human life, connected with “first-person perspective” and “personhood”, submental thinking, mental autonomy, etc. While different and emerging features that flow into and out of one another (second field, mental travel, visual imagery, inner speech, unspecific memory, autobiographical memory, fantasies, introspection, etc.) and negative and positive approaches seem to describe mind-wandering, we offer an interdisciplinary theoretical and empirically (...) informed and informative overview on mind-wandering studies and methodologies oriented toward the educational field. The aim is to transform and enrich the debate on mind-wandering but also to show how theoretical arguments and research findings could inform the teaching-learning context. This groundbreaking book, moves along three representations of developed scientific knowledge: imaginary lines, circles and spirals. The first section, “The Lines”, develops new lines of inquiry on attention (selective and sustained) and mind-wandering, the influence of age and mind-wandering, embodiment, consciousness and experience and mind-wandering. In the second section, the “Circles”, groups of Chapters on the same topic, methodology (tasks and measurement), intervention (auditory beat stimulation and mindfulness practices) and creativity, recreate a dance of interacting parts in which there are always profitable, decisive and retroactive exchanges between the information that each group or author activates. The last section, “The Spirals”, critically discusses the absence of a unified theoretical perspective, in the pedagogical field, attentive both to the processes of emergence and the interactions between parts. (shrink)

In his late unfinished work on aesthetic theory, Adam Smith develops the concept of rythmus to explore such arts as music, dance and poetry. Smith argues that rythmus communicates emotion in a very specific way. For Smith, narrative arts, such as drama or the novel, predominately seek to recreate or represent in the minds of their readership or audience the emotions of the characters that are portrayed. But what we experience through rythmus, by contrast, is an original, and not (...) a sympathetic, feeling. Rythmus is the communicative medium of a paradoxical mode of collective feeling in which each person feels his or her own emotions, and yet all feel the same thing; in which social being is at once non-fungible and shared. (shrink)

The article is the first exploration of Mārganāṭyam, a new tradition in the performing arts of modern India, created from the beginning of the XXI century by an outstanding researcher of musical, theatrical and dance culture, Kalamandalam Piyal Bhattacharya and his students. It is based on the many years of the author’s personal observations, interaction, interviews and discussions with the participants of “Chidakash Kalalay. Centre of Art and Divinity”, an artistic community based on the direct transfer of knowledge and (...) skills from teacher to students, which has developed around Piyal. The features of the method of reconstruction of the ancient Indian theater, the flexible application of the legacy of the past in modern conditions are under study. Particular attention is paid to the artistic interpretation and comprehension of the Indian philosophical heritage, and above all the concepts and worldview of Nyaya and Vedanta systems, transferring them to the space of scenic images. The presented material demonstrates that an integrated approach to the artistic heritage, a metatheater, combined with individual pedagogical unfold of the personality of the artists, creates the possibility of recreating the long-vanished tradition and complex philosophical issues in a way that is well understood today, relevant and reflects the essential needs of modern creators and viewers of the Indian theater at large. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s 1803 “Trauerspiel (...) mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

This chapter wagers that dance holds a singular, irreducible place in Nancy's work, that it cannot be reduced to thought about dance, and that it provides a way to understanding Nancy's approach to visual culture in general, to equality, and to the circulation of sense in terms of what he calls singular plural being. The chapter takes its starting point from Nancy's discussions of dance in the as yet untranslated Allitérations, a series of email exchanges from 2003 (...) and 2004 followed by transcriptions of face-to-face exchanges between Nancy and choreographer Mathilde Monnier loosely addressing the question of the relation between philosophy and dance, and a conversation between Nancy, Monnier and film-maker Claire Denis. In the first half of the book Nancy raises two questions, each presenting a pair of seemingly irreconcilable demands: 1. How can we understand dance as something open to everyone while retaining the privilege of professional expertise? 2. How can we understand dance in a way that maintains its uniqueness, not reducing it to an example of thought or a vehicle for thought, and yet still allowing for a relation between dance and thought? Both questions invite us to think the privilege of dance together with its openness; its singularity together with its plurality. As Nancy and Monnier grapple with these seemingly contradictory demands in Allitérations, their conversation opens up onto a fresh way to think political equality, and a different way to understand – or ‘catch’, a much more suitable term that I shall introduce later in this chapter – the sense of the world. It is by taking a detour via ‘The Image: Mimesis and Methexis’ that we can also see how Nancy's approach to dance can open to a new way of engaging with visual culture in general. -/- The point in this chapter is not simply to use dance as an example or illustration that helps us better to understand Nancy's approach to visual culture or the Nancean singular plural or his notion of ‘sense’, for in considering dance in terms of art, singular plurality and sense, we shall also be drawn to reassess sense, art and the singular plural in terms of dance. (shrink)

With its unique combination of depth, clarity, and humor that has enchanted millions, this beloved classic by bestselling author Gary Zukav opens the fascinating world of quantum physics to readers with no mathematical or technical background. "Wu Li" is the Chinese phrase for physics. It means "patterns of organic energy," but it also means "nonsense," "my way," "I clutch my ideas," and "enlightenment." These captivating ideas frame Zukav's evocative exploration of quantum mechanics and relativity theory. Delightfully easy to read, The (...) Dancing Wu Li Masters illuminates the compelling powers at the core of all we know. (shrink)

Does intersectionality divide marginalized groups (e.g., women) along identity lines (e.g., race, class, and sexuality)? In response to the criticism that intersectional approaches to feminist and critical race theories lead to fragmentation and division, this paper notes that it relies on an ontological (mis)understanding of identity as a fixed entity. I argue against this notion of identity by engaging in a detailed case study of how Asian American women experience their Asian identity. The case study demonstrates that identity is lived (...) not as a pre-given static object but rather as a fluid and flexible process: what Asian identity means varies according to how this identity is related to the dynamics of power. I propose a tripartite taxonomy of identity-power relationships exhibited in Asian American women’s lives, in which identities are 1) constructed by and 2) used to reproduce power as oppression, as well as 3) used to build power as resistance. In particular, I explore Black and Asian feminist solidarities to show that those at the margins recreate their identities and, in doing so, build positive forms of power such as resistance and solidarity. The criticism that intersectionality leads to fragmentation does not hold, as it is grounded in a flawed notion of identity that fails to consider how identities are actually lived in their changing relationships to power—especially how marginalized groups, such as women of color, build solidarity to resist oppression by recreating their identities, rather than being fragmented into smaller and mutually exclusive subgroups. (shrink)

I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles (...) to divorce themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove. (shrink)

The most constructive response to the crisis in moral theory has been the revival of virtue ethics, which has the advantages of being personal, contextual, and, as will be argued, normative as well. It is also proposed that the best way to refound virtue ethics is to return to the Greek concept of technē tou biou, literally "craft of life." The ancients did not distinguish between craft and fine art, and the meaning of technē, even in its Latin form, ars, (...) still retains the meaning of skillful crafting and discipline. In Greco-Roman culture, techniques were very specific, covering dietetics, economics, and erotics. In ancient China, moral cultivation was intimately connected to the arts, from archery to poetry, music, and dance, such that virtually every activity would have both moral and aesthetic meaning. Using R. D. Collingwood's distinction between craft and fine art, it is proposed that the latter, particularly the performing arts of music and dance, can serve as a model for virtue ethics in our times. (shrink)

In the sense of phenomenology, actions are special cases of acts of consciousness. Within semiotics, first Jan Mukařovský and then A. J. Greimas have established, in different terms, a distinction between instrumental actions and actions which carry their meaning in themselves. But this is insufficient to account for the variety of actions which comprises everything from the creation of artefacts, dance, sporting events, theatre, rituals, and much else. Already those actions mentioned relate in different ways to instrumentality and intrinsic (...) meaning, as well as to iconicity and plasticity. In this paper, I will be particularly concerned with dancing, especially classical ballet, trying to delimit it from sporting events and theatre. Apart from the sign function and the spectacular function, I will notably have recourse to what I have elsewhere term secondary iconicity as well as to plasticity. In the process, I hope to be able to throw some light also on the nature of sport, by comparing and contrasting it to dance, as well as to the theatre as well as, more incidentally, to some other types of action. In a wider perspective, my ambition is to contribute to a general inquiry into the semiosis of actions. (shrink)

The most constructive response to the crisis in moral theory has been the revival of virtue ethics, which has the advantages of being personal, contextual, and, as will be argued, normative as well. It is also proposed that the best way to refound virtue ethics is to return to the Greek concept of technē tou biou, literally "craft of life." The ancients did not distinguish between craft and fine art, and the meaning of technē, even in its Latin form, ars, (...) still retains the meaning of skillful crafting and discipline. In Greco-Roman culture, techniques were very specific, covering dietetics, economics, and erotics. In ancient China, moral cultivation was intimately connected to the arts, from archery to poetry, music, and dance, such that virtually every activity would have both moral and aesthetic meaning. Using R. D. Collingwood's distinction between craft and fine art, it is proposed that the latter, particularly the performing arts of music and dance, can serve as a model for virtue ethics in our times. (shrink)

One of the fundamental debates that theologians have held to discuss the possibility of and to facilitate understanding of the bodily resurrection is iʿādat al-maʿdūm; that is, the restoration of the non-existent. Despite some differences in their perspectives, theologians, including the Muʿtazilites, have considered iʿādat al-maʿdūm possible. Avicenna, who opposed the classical views of theologians by rejecting iʿādat al-maʿdūm, provoked a new discussion and fuelled controversy about this issue. Later Islamic philosophers and theologians who were influenced by him took his (...) path and reformulated his arguments about the impossibility of iʿādat al-maʿdūm. Likewise, the theologians of the mutaʾakhkhirūn period, who defended the possibility of iʿādat al-maʿdūm, in support of the classical view, voiced new criticisms against these recontructed arguments. Thus, the debate turned into a highly controversial issue between Islamic philosophers and theologians. In fact, unlike the theologians who included the issue of iʿādat al-maʿdūm in the subsections of the samʿiyyāt chapters as an extension of the resurrection debates, Islamic philosophers did not consider it possible and preferred to address it under the subheadings of the umūr al-āmma chapters on existence and non-existence, in which metaphysical issues were discussed. This is because Avicenna considered iʿādat al-maʿdūm a metaphysical issue related to non-existence. On the one hand, some philosophers, who considered iʿādat al-maʿdūm impossible, deployed the new argument that things that existed and then disappeared could not be recreated in the same way. On the other hand, others expressed their criticisms against these arguments in the disputatious style (jadali) and tried to defend the restoration of the non-existent in the same way. Therefore, the theologians who addressed these issues in their works helped answer the question of whether it is possible to recreate the non-existent. This is because the texts provided detailed and important information about the course of the debate, such as who rejects and accepts iʿādat al-maʿdūm, the background and context of the debate between philosophers and theologians, the proofs put forward for the rejection of recreation, the criticisms in response to these proofs, and the evidence put forward for recreation. Therefore, the present study aims to discuss the arguments for iʿādat al-maʿdūm; that is, whether maʿdūm can be recreated in the same way, and the criticisms against these arguments, which have become a subject of debate between theologians and philosophers. Avicenna’s ideas are also highlighted in the study as he is the source of the arguments for the impossibility of iʿādat al-maʿdūm. In terms of its scope, the present study is based on the major works of the prominent theologians of the mutaʾakhkhirūn period and the main commentaries written on these works. (shrink)

This chapter, composed of three parts by three different authors, proposes that one of the many possible ways that dance might embody philosophic thought and discourse is via embodying ethical practice. Each author contributes a different perspective on the relationship between dance and ethical activity. The perspectives can be read both as separate ideas and as interrelated thoughts. Einav Katan-Schmid views ‘dance’ as a metaphor for ‘embodied ethics’. She analyses dance as an embodied activity of decision-making (...) which regulates the tension between co-existing physical dynamics. Following from the idea of ‘dancing’, she suggests that one think of ‘embodied ethics’ in performative terms – as a contemplative activity. Aili Bresnahan goes on to show how dance practice provides examples of applied ethics within the traditional western philosophical categories of both virtue ethics and consequentialist ethics. In the third section, Sara Houston argues that dance can encompass an ethics of care. She demonstrates how dance with an ethic of care involves attentiveness, putting person before form, and for the dance artists to give up a degree of control and autonomy over the work made. (shrink)

Ontological approaches to the arts have neglected art forms such as dance. This hinders analysis of the metaphysical similarities and differences between different art forms. In this paper, I develop a metaphysical realist ontological approach to dance and sport that is grounded in embodiment. I first examine the debate between descriptivism and metaontological realism in the philosophy of arts in the context of Thomasson’s descriptive approach and Dodd’s metaontological approach of folk-theoretic modesty. Following Dodd, I adopt a realist (...) metaontological approach to dance as an art form, drawing on philosophical debates within dance. I then review metaphysical approaches to sport and argue that most such approaches are based on abstract, top-down models. I therefore propose an ontological account of sport and dance based on metaontological realism and grounded in embodied movement knowledge. Drawing on Schaffer’s concept of ground functionalism, I use this approach to compare the aesthetic and bodily aspects of sport and dance in terms of elite-level movement knowledge. I describe how the embodiment of such movement knowledge through practice permits dancers and athletes to create expert movements. Drawing on findings from neuroscientific research, I argue that dancers and athletes, through the process of physiological plasticity, acquire embodied memories that are transformed into new bodily and behavioral dispositions. I believe that the metaphysical realist ontological approach presented here could help to broaden the focus in arts ontology to encompass movement disciplines such as sport and dance. This account may also engender cross-disciplinary research and encourage philosophers to explore the role of movement in arts such as music. (shrink)

It is often argued by educators and researchers that access to the arts leads to increased academic performance. However, it is not clear why such access does so. We here use autopoietic enactive embodied cognition and ecological psychology to explain the relationship between dance training and conceptual problem-solving. We investigate four features of dance training that are beneficial for conceptual problem-solving and critical thinking: empathy, affordance exploration, attention change, and habit breaking. In each case, we will see that (...) the embodied sensorimotor skills developed through dance practice are a form of affordance exploration that can carry over into the realm of conceptual problem-solving. Hence, since some of the skills needed in conceptual problem-solving are the same ones developed and trained through dancing, when we train dance, we also train some of the relevant skills for conceptual problem-solving and critical thinking. (shrink)

Explores the role of dance education both inside and outside the arts.

Dancing with Iris engages with Iris Marion Young's prolific writings in political theory and in phenomenology. Contributors discuss her work from a variety of disciplines, including philosophy, political science, human rights law, cultural geography and dance studies.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists (...) considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

A study of the major themes in traditional and contemporary philosophy.

The process of transmitting ballet’s complex technique to young dancers can interfere with the innate processes that give rise to efficient, expressive and harmonious movement. With the intention of identifying possible solutions, this article draws on research across the fields of neurology, psychology, motor learning, and education, and considers their relevance to ballet as an art form, a technique, and a training methodology. The integration of dancers’ technique and expressivity is a core theme throughout the paper. A brief outline of (...) the historical development of ballet’s aesthetics and training methods leads into factors that influence dancers’ performance. An exploration of the role of the neuromotor system in motor learning and the acquisition of expert skills reveals the roles of sensory awareness, imagery, and intention in cuing efficient, expressive movement. It also indicates potentially detrimental effects of conscious muscle control, explicit learning and persistent naïve beliefs. Finally, the paper presents a new theory regarding the acquisition of ballet skills. Recontextualization theory proposes that placing a problematic task within a new context may engender a new conceptual approach and/or sensory intention, and hence the genesis of new motor programs; and that these new programs may lead to performance that is more efficient, more rewarding for the dancer, more pleasing aesthetically, and more expressive. From an anecdotal point of view, this theory appears to be supported by the progress of many dancers at various stages of their dancing lives. (shrink)