21 found
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  1. Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...)
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  2. Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency.Aili Bresnahan - 2014 - Dance Research Journal 46 (1):84-94.
    This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system that (...)
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  3. Toward A Deweyan Theory of Ethical and Aesthetic Performing Arts Practice.Aili Bresnahan - 2014 - Journal of Aesthetics and Phenomenology 1 (2):133-148.
    This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in art and (...)
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  4.  57
    The Philosophy of Dance.Aili Bresnahan - 2014 - In Edward N. Zalta (ed.), The Stanford Encyclopedia of Philosophy. Stanford, CA: The Metaphysics Research Lab.
    This is an overview of the philosophy of dance that is a subset of Western philosophical aesthetics. There is a new, substantially updated and revised full-text version available as of November 2019 available at the Stanford Encylclopedia of Philosophy website.
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  5.  27
    Dancing in Time.Aili Bresnahan - 2017 - In Ian Phillips (ed.), The Routledge Handbook of Philosophy of Temporal Experience: Routledge Handbooks in Philosophy. New York: Routledge. pp. 339-348.
    This chapter will analyze the experience and, in particular the conscious experience, of dancing in time from the perspective of the trained dancer while performing. The focus is thus on the experience and consciousness of a dancer who is moving her body in time rather than on the experience of a seated audience member or dance appreciator who is watching a dancer move. The question of how temporality is experienced in dance by the appreciator will therefore not be addressed here. (...)
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  6. Dance Appreciation: The View from the Audience.Aili Bresnahan - 2017 - In David Goldblatt, Lee Brown & Stephanie Patridge (eds.), Aesthetics: A Reader in the Philosophy of the Arts, 4th edition. Routledge. pp. 347-350.
    Dance can be appreciated from all sorts of perspectives: For instance, by the dancer while dancing, by the choreographer while watching in the wings, by the musician in the orchestra pit who accompanies the dance, or by the loved-one of a dancer who watches while hoping that the dancer performs well and avoids injury. This essay will consider what it takes to appreciate dance from the perspective of a seated, non-moving audience member. A dance appreciator in this position is typically (...)
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  7. Dance as Embodied Ethics.Aili Bresnahan, Einav Katan-Schmid & Sara Houston - 2020 - In Laura Cull Ó Maoilearca, Alice Lagaay, Ira Avneri, Freddie Rokem, Jerri Daboo, Michael Ellison, Hannah McClure, Andres Fabien Henao Castro, David Kornhaber, Anthony Gritten, Laura Cull ó Maoilearca, Sreenath Nair, Will Daddario, Esther Neff, Yelena Gluzman, Fumi Okiji & Theron Schmidt (eds.), The Routledge Companion to Performance Philosophy. Routledge. pp. 379-386.
    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 (...)
     
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  8. Dance Rhythm.Aili Bresnahan - 2019 - In Peter Cheyne, Andy Hamilton & Max Paddison (eds.), The Philosophy of Rhythm: Aesthetics, Music, Poetics. New York: Oxford University Press, USA. pp. 91-98.
    This chapter proposes a theory of dance rhythm as distinct from rhythm in dance. First, it distinguishes natural and intentional rhythm, constructed from combining theories by Dewey and Margolis. It then defends this account by exploring musical and non-musical connections between rhythm and dance. It argues that dance rhythm can arise in conjunction with music, or that it can – though need not – follow music, or that it can set the musical rhythm, or be completely independent of music, though (...)
     
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  9. How Artistic Creativity is Possible for Cultural Agents.Aili Bresnahan - 2015 - In How Artistic Creativity is Possible for Cultural Agents. Helsinki, Finland: pp. 197-216.
    Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...)
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  10. Body Aesthetics.Aili Bresnahan - 2018 - British Journal of Aesthetics 58 (1):111-113.
    £ British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] unique and sprawling collection of sixteen essays explores a wide range of perspectives on the human body and how it is embodied, lived, viewed, perceived, and constructed by ourselves and by others in both positive and harmful ways. The book’s contributors include philosophers, sociologists, anthropologists, and artists, as well as scholars who focus on (...)
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  11.  22
    Diversified Philosophy.Aili Bresnahan - 2018 - The Philosophers' Magazine 80:78-79.
    This is general and popular opinion piece on what I think about the future of philosophy.
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  12.  28
    Is Tap Dance a Form of Jazz Percussion?Aili Bresnahan - 2019 - Midwest Studies in Philosophy 44 (1):183-194.
    Midwest Studies In Philosophy, EarlyView.
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  13. Perceiving Live Improvisation in the Performing Arts.Aili Bresnahan - 2019 - In Dena Shottenkirk, Manuel Curado & Steven S. Gouveia (eds.), Perception, Cognition and Aesthetics. New York: Routledge. pp. 106-119.
    This chapter will explore the ways that live improvisational performances by professional-level actors, musicians, and dancers, take place at both cognitive and sub-cognitive levels in ways that are relevant for understanding perception and appreciation of the performing arts. First, evidence from cognitive science will be used to show that improvising, as in a dance or a music jam session or a scene in theatre, may involve physical responses that occur before we are conscious of the event to which we are (...)
     
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  14.  21
    Pragmatist Philosophy and Dance: Interdisciplinary Dance Research in the American South by Eric Mullis.Aili Bresnahan - 2022 - Transactions of the Charles S. Peirce Society 57 (3):402-405.
    Eric Mullis' Pragmatist Philosophy and Dance is a thoroughly multi-disciplinary and transdisciplinary book that is centered on and deeply engaged in the experimental and lived experience of Pentecostal dance in the American and Appalachian South. The focal point for Mullis' research is not observation and critique of dance as embodied religious practice from a critical distance but from the inside, embedding his own person and body into the environment with all the resources of the unifying self that he has at (...)
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  15.  85
    The Dynamic Phenomenon of Art in Heidegger's The Origin of the Work of Art.Aili Bresnahan - 2009 - American Society for Aesthetics Graduate E-Journal 1 (2):1-8.
    This paper makes the claim that in “The Origin of the Work of Art,” Heidegger treats art as a primary phenomenon through which truth as unhiddenness is revealed at the locus of the work of art. Essays by Heidegger commentators John Bruin and Abraham Mansbach are rejected as inaccurate or insupportable because they do not recognize that for Heidegger art is an originating phenomenon; it is not a mode of representation , nor is the agency of “art” due to the (...)
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  16. Dance and Philosophy.Rebecca L. Farinas, Craig Hanks, Julie C. Van Camp & Aili Bresnahan (eds.) - 2021 - London: Bloomsbury.
    Craig Hanks and Aili Bresnahan are contributing editors only -- not main editors.
     
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  17. Beauty in Disability: An Aesthetics for Dance and for Life.Aili Bresnahan & Michael Deckard - 2019 - In Karen Bond (ed.), Dance and Quality of Life, Social Indicators Research Series, Vol. 73. pp. 185-206.
    To what extent does dance contribute to an ideal of beauty that can enrich human quality of life? To what extent are standards of beauty predicated on an ideal human body that has no disability? In this chapter, we show how conceptions of proportionality, perfection, and ethereality from the Ancient Greeks through the 19th century can still be seen today in some kinds of dance, particularly in ballet. Disability studies and disability-inclusive dance companies, however, have started to change this. The (...)
     
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  18.  55
    Censorship as Catalyst for Artistic Innovation.Aili Bresnahan - 2013 - Journal for Peace and Justice Studies 23 (2):98-116.
    One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned suppressions (...)
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  19.  36
    All the world’s a stage. [REVIEW]Aili Bresnahan - 2015 - The Philosophers' Magazine 69:125-126.
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  20.  32
    KATAN, EINAV. Embodied Philosophy in Dance: Gaga and Ohad Naharin's Movement Research. Palgrave Macmillan UK, 2016, xviii + 228 pp., 10 color illus., $99.99 cloth. [REVIEW]Aili Bresnahan - 2017 - Journal of Aesthetics and Art Criticism 75 (3):310-311.
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  21.  27
    Review of Art and Morality: Essays in the Spirit of George Santayana. [REVIEW]Aili Bresnahan - 2015 - Overheard in Seville 33 (33):68-71.
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