Dance events as a caregiver intervention for persons with dementiaThe aim of the study was to illuminate the phenomenon of dance events as a caregiver intervention for persons with dementia in one nursing home as described by the caregivers. Seven caregivers were interviewed. The interviews were unstructured and conducted while the caregivers were watching a video of dance events arranged in the nursing home. The analysis was carried out using the phenomenological method developed by Giorgi. The results (...) are presented in five consistent themes: (1) prerequisites for dance events; (2) creating and preparing different kinds of activities related to the dance events; (3) emotional arousal; (4) caregivers’ situational understanding; and (5) dance events and contextual consequences and synthesis into a general structure. The meaning of the dance events as a caregiver intervention was founded not only on the dancing itself but also encompassed the ontological state of ‘being together’. (shrink)

After accounting for the festival as a philosophical theme across Heidegger’s early to later writings, this article summarizes the 1943 “Andenken” essay on Hölderlin’s “wedding festival” and 1959 “Hölderlin’s Earth and Heaven” essay on the “round dance.” It then explores how these motifs of the wedding festival and its round dance are in play in the 1936–1937 Contributions to Philosophy: Of the Event manuscript, especially in its philosophy of attunement, and notion of the “celebration of the last (...) god.”. (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)

In Michel de Certeau’s Invention of the Everyday, improvisational community dance function as a catalyst for the subversive art of the oppressed, via its ancient Greek virtue/power of mētis, being “foxlike.” And in de Certeau’s The Possession of Loudun, this foxlike dance moves to the stage, as an improv chorus that disrupts the events at Loudon when reimagined as a tetralogy of plays at City Dionysia. More precisely, Loudun’s tetralogy could be interpreted as a series of three tragedies (...) and one comedy, the latter of which involves the chorine nuns’ channeling of anomie into a proto-feminist transfiguration. More precisely, the tactical prowess of the nuns’ chorus leader, namely the prioress Jeanne des Anges, elevates her to the status of an angelic prophet, which in de Certeau’s theatrical dancing critique makes her the Loudun tetralogy’s Dionysian, foxlike mage. In conclusion, this analysis suggests de Certeau’s relevance for revolutionary social justice today. (shrink)

Stress that the exchange of social legacy to what's in store is the main capability of schooling; social qualities should be shown for social turn of events, socialization of the individual and participation of a general public. With esteem schooling, it is feasible to introduce the information on many long periods of philanthropic qualities, which are situated external the mainstream society, to the understudies and pursue choices in the illumination of these aggregations. The conviction that social legacy is a significant (...) Behind the dreams are the resources that will be preserved and supplied to people in the future. This idea emphasizes the "leading side" of folk dance, and scientific and linguistic research has become the focus of interdisciplinary research influenced by the "state-of-the-art similarity hypothesis" presented in 1980. I am. The word illustration comes from "metaforin". It is a combination of the Greek words "meta" (develop) and "ferein" (send). "Metaforein" means "tell" or "send", but today two are used as equivalent / comparable links between events or connections. (Draaisma, 2007). (shrink)

In Michel de Certeau’s Invention of the Everyday, improvisational community dance function as a catalyst for the subversive art of the oppressed, via its ancient Greek virtue/power of mētis, being “foxlike.” And in de Certeau’s The Possession of Loudun, this foxlike dance moves to the stage, as an improv chorus that disrupts the events at Loudon when reimagined as a tetralogy of plays at City Dionysia. More precisely, Loudun’s tetralogy could be interpreted as a series of three tragedies (...) and one comedy, the latter of which involves the chorine nuns’ channeling of anomie into a proto-feminist transfiguration. More precisely, the tactical prowess of the nuns’ chorus leader, namely the prioress Jeanne des Anges, elevates her to the status of an angelic prophet, which in de Certeau’s theatrical dancing critique makes her the Loudun tetralogy’s Dionysian, foxlike mage. In conclusion, this analysis suggests de Certeau’s relevance for revolutionary social justice today. (shrink)

Digital cameras and motion capture technologies that document and share creative practices have transformed the way we think about dance as an embodied knowledge as well as the way we experience it bodily. Computational media, which not only records and archives but also calculates, analyses and models dance, further complicates its ontological status. This move to document and inscribe dance in a tangible medium marks a shift from understanding dance as an ungraspable event towards conceiving (...) of dance as a tangible process that can be collected, transmitted, repeated and packaged or archived as an object. I look at two dance works – Matthias Sperling’s Loop Atlas and Siobhan Davies and Anri Sala’s Solo in the Doldrums – that trouble conventional notions of embodiment and its relationship to both presence and absence, at the same time they challenge how computational media fixates on figures and gestures that can be traced, mapped and calibrated. (shrink)

Common themes in American Indian philosophy -- First introductions -- Common themes : a first look -- Constructing an actual American Indian world -- NelsonGoodman's constructivism -- Setting the stage -- Fact, fiction, and feeders -- Ontological pluralism -- True versions and well-made worlds -- Nonlinguistic versions and the advancement of understanding -- True versions and cultural bias -- Constructive realism : variations on a theme by Goodman -- True versions and cultural bias -- An American Indian well-made actual world (...) -- Relatedness, native knowledge, and ultimate acceptability -- Native knowledge and relatedness as a world ordering principle -- Native knowledge and truth -- Native knowledge and verification -- Native knowledge and ultimate acceptability -- An expansive conception of persons -- A western conception of persons -- Native conceptions of animate beings and persons -- An American Indian expansive conception of persons -- The semantic potency of performance -- Opening reflections and reminders about performances -- Symbols and their performance -- The Shawnee naming ceremony -- Gifting as a world constructing performance -- Closing remarks about the semantic potency of performances -- Circularity as a world ordering principle -- Goodman briefly revisited -- Time, events, and history or space, place, and nature? -- Circularity as a world ordering principle -- Circularity and sacred places -- Closing remarks about circularity as a world ordering principle -- The dance of person and place -- American Indian philosophy as a dance of person and place -- Consequences, speculations, and closing reflections. (shrink)

Art perception offers action affordances for the self-generated movement of the eyes, the mind, and the emotions; thus some scenes are ’easy to look at', and evoke different kinds of moods depending on what kind of affordances they present for the eyes, the brain, and the action schemas that further the dynamical self-organizing patterns of activity toward which the organism tends, as reflected in its ongoing emotional life. Art can do this only because perception is active rather than passive, and (...) begins with efferent activity in emotional brain areas (e.g. hypothalamus, amygdala, hippocampus and anterior cingulate) which then motivates afferent processing (parietal imaging activity which finally, after a 1/3-second motivational/selective process is complete, resonates with occipital patterns, resulting in perceptual consciousness). The limbic system ’categories’ that motivate the ’looking-for’ of selective attention are categories of utility, to be understood in terms of emotional affordances and whole-organism affective meanings. Art plays with this looking-for, using it to make us engage in different afforded actions that relate to different limbic (emotional) categories. The drawings of children and of the artistically untutored reveal this structure when we fail to ’draw what we see’, drawing instead what we conceptualize that we ought to be seeing. Art teaches us to get beyond this almost complete dominance of habitual categories, and to see things more freshly -- both in the perceptual and in the emotive sphere. Rather than reinforcing our preconceptions, it forces us to see how they affect our view of reality. -/- Because neither perceptions nor emotional responses are really passive ’responses’ at all, art does not cause us to feel a certain way. Instead, we ’use’ art for the purpose of symbolizing our emotions. Our most important feelings are not directly ’about’ the perceptual objects that trigger them. The object in conscious attention during the feeling of an emotion is normally not the intentional object of the emotion, i.e., it is not the object in relation to which our actions could serve the purpose of the emotion. Emotions are not even triggered by simple ’stimuli’, but rather by the meaning for us of a stimulus in a total context determined by ongoing and dynamical organismic purposes. Emotions arise from the total life process, which is a dynamical system -- not as an isolated chemical event or a causal result of a simple stimulus. For this reason, emotions call not just for satiation or pleasure, but for explication; this is why art is different from entertainment or pretty decoration. Visual art affords not only a meaningful, self-directed dance of the eyes, but also a meaningful dance of this emotional explicating process. (shrink)

This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘aesthetic of experience’ as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic (...) and historical and attempts to create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocageand argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or dÈblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s and its idea of ‘awakening’ society through public art; and (2) the renovation of the French Ministry of Culture in 1982 and its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression and presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, and explain their relationship to the notion of ‘dance as l'intervention’ that has grown out of the historical context of contemporary dance in France. (shrink)

The heart of this book is a dramatic love poem, the Rasa Lila, which is the ultimate focal point of one of the most treasured Sanskrit texts of India, the Bhagavata Purana. Judged a literary masterpiece by Indian and Western scholars alike, this work of poetic genius and soaring religious vision is one of the world's greatest sacred love stories and, as Graham Schweig clearly demonstrates, should be regarded as India's Song of Songs. The story presents the supreme deity as (...) the youthful and amorous cowherd, Krishna, who joins his beloved maidens in an enchanting and celebratory "dance of divine love." Schweig introduces this work of exquisite poetry and profound theology to the Western world in the form of a luminous translation and erudite scholarly treatment. His book explores the historical context and literary genre of the work and elucidates the aesthetic and emotional richness of the composition, highlighting poignant details of this drama of divine love. Schweig illuminates the religious dimensions and ethical nuances of the drama, drawing widely from the commentaries and esoteric vision of masters of the Caitanya school of Vaishnavism, a prominent devotional Hindu tradition. Themes such as transcendence of death through love, the yoga of devotion, the contrast between worldly love and passionate love for God, and the dialectical tension between ethical boundaries and boundless love are presented. The final event of the Rasa dance, the author concludes, presents a dynamic symbol of supreme love that provides the basis for a theological vision of genuine religious pluralism. (shrink)

Research has shown that both adults and children organize familiar activity into discrete units with consistent boundaries, despite the dynamic, continuous nature of everyday experiences. However, less is known about how observers segment unfamiliar event sequences. In the current study, we took advantage of the novelty that is inherent in modern dance. Modern dance features natural human motion but does not contain canonical goals—therefore, observers cannot recruit prior goal‐related knowledge to segment it. Our main aims were to (...) identify whether observers segment modern dance into the steps intended by the dancers, and what types of cues contribute to segmentation under these circumstances. Experiment 1 used a classic event segmentation task and found that adults were able to consistently identify only a few of the dancers’ intended steps. Experiment 2 tested adults in an offline labeling task. Results showed that steps which could more easily be labeled offline in Experiment 2 were more likely to be segmented online in Experiment 1. (shrink)

Now I continue the investigation, begun in Homo Quaerens: The Seeker and the Sought, into the generic traits of persons from a philosophic point of view. I treat such special topics of my method, set forth in that book, as bear upon the person's intrapersonal aspects: namely, his body and such of its functions as contribute to his preconscious acts. In particular, I deal with those aspects insofar as they may be construed as straining, so to speak, toward that self-transcendence (...) which culminates in the veridical person - in effect, strands of subpersonal events which contribute to and converge upon his consummate personhood. In consequence, I explore the ontology of the person under the perspective of his naturalistically interpreted makeup; and I conceive my enterprise as propaedeutic to more generalized ontologic topics which I shall take up in subsequent books. (shrink)

This paper discusses possible correspondences between neuroscientific findings and phenomenologically informed methodologies in the investigation of kinesthetic empathy in watching dance. Interest in phenomenology has recently increased in cognitive science (Gallagher and Zahavi 2008 ) and dance scholars have recently contributed important new insights into the use of phenomenology in dance studies (e.g. Legrand and Ravn (Phenomenology and the Cognitive Sciences 8(3):389–408, 2009 ); Parviainen (Dance Research Journal 34(1):11–26, 2002 ); Rothfield (Topoi 24:43–53, 2005 )). In (...) vision research, coherent neural mechanisms for perceptual phenomena were uncovered, thus supporting correlation of phenomenology and neurophysiology Spillmann (Vision Research 49(12):1507–1521, 2009 ). Correspondingly, correlating subjects’ neurophysiological data with qualitative responses has been proposed as a means to research the human brain in the study of consciousness (Gallagher and Zahavi 2008 ), with similar issues in clinical psychology Mishara (Current Opinion in Psychiatry 20(6):559–569, 2007 ) and biology Kosslyn et al. (American Psychologist 57:341–351, 2002 ). Yet the relationship between neuroscience and qualitative research informed by phenomenology remains problematic. How qualitative research normally handles subjective experiences is difficult to reconcile with standard statistical analysis of objective data. Recent technological developments in cognitive neuroscience have inspired a number of researchers to use more naturalistic stimuli, outside the laboratory environment, such as dance, thereby perhaps helping to open up the cognitive sciences to more phenomenologically informed approaches. A question central to our research, addressed here, is how the phenomenal experiences of a dance audience member, as accessed by qualitative research methods, can be related to underlying neurophysiological events. We outline below some methodological challenges encountered in relating audiences’ first-person accounts of watching live dance performance to neurophysiological evidence of their experiences. (shrink)

Free will in intentional consciousness is exposed to skeptics since it was found that subconscious neural activities, what is called readiness potential, precedes the intention to an action. The question of whether free will is an authentic illusion has been argued not only in psychology but physics and philosophy. Most of scientists, however, think that the intentional consciousness who believes to have his/her own free will, is determined by readiness potential in advance, and that free will cannot coexist with determinism. (...) We here point out that knowing to be determined in advance cannot be verified till local event at a local site can be known from a different local site without disturbing the event. That is the assumption of locality. We here show that determinism, free will and locality are three essential elements in consciousness, and show that they constitute trilemma. The fact that one of three elements must be abandoned can lead to three types of consciousness. Absence of free will can constitute type I consciousness which is consistent with symptoms in autism spectrum disorder such as weakened theory of mind. Absence of determinism can constitute type II consciousness which is consistent with symptoms in schizophrenia such as thought insertion, self-other integration. Absence of locality can constitute type III consciousness which is consistent with typical people. We can find the entanglement of intentional consciousness with unconsciousness including readiness potential only in type III consciousness. Finally, we show that sense of agency and free will cannot be established until consciousness as an entanglement is implemented. (shrink)

In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of (...) dance’s relationship to both notation in general and also Labanotation in particular. My argument is that dance gives the false impression of being notational, or is “meta-notational.”. (shrink)

The aim of this paper is to highlight the "sacred" and "secular" character of the Xesyrtos or Gikna dance in the community of Asvestades in Thrace in Greece. In particular, this paper intends to highlight the difference between the "sacred" and the "secular" and the way this dichotomy is reflected in the dance under study. Data was gathered through the ethnographic method. The sacred/secular dichotomy, as proposed in Leach's (1976) theoretical model, is used to analyze the data. Further, (...) Laban's notation system (Hutchinson, 2005; Koutsouba, 2005), was used to record the choreographic compositions of Xesyrtos or Gikna dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was applied. Finally, for the presentation and interpretation of the data, Geertz’s model of "thick description" (2003) was adopted. From the data analysis it was found that the Xesyrtos and Gikna dances are danced in exactly the same way, but are clearly separated and demarcated based on the intentions of the community residents related to the performed function of the dance event. (shrink)

This paper reports on a weekend performance event at the Tate Modern that explored how the senses of sound and movement can be used to apprehend geometrical and topological shapes and mathematical concepts. The sound sculpture Knots and Donuts spatialized sound and sonified space. It attuned the ‘mind’s ear’ and the auditory imagination to conceive of a Borromean Knot and a torus within an immersive three-dimensional sound field. Through dance movement, the choreography of Ordinal 5 actualized the specific (...) mathematical entity as understood in category theory. Both parts of the programme are considered as a performance as research experiment with an audience. Its aim was to understand how the sensory experience of the embodied mind might provide a basis of rationality in which meaning is not restricted to text and image, that is, an embodied topology. (shrink)

Introduction. Activist philosophy and the occurrent arts -- The ether and your anger toward a speculative pragmatism -- The thinking-feeling of what happens putting the radical back in empiricism -- The diagram as technique of existence ovum of the universe segmented -- Arts of experience, politics of expression In four movements. First movement. To dance a storm -- Second movement. Life unlimited -- Third movement. The paradox of content -- Fourth movement. Composing the political.

This article aims to contribute to the debate on the short- to medium-term political implications of the 2001 Argentine crisis. The bulk of the argument deals with the criticism of the notion of 'reinvention of politics'. The article presents the theoretical premises and empirical data which sustain this proposal. It is argued that in order to appreciate the political innovation brought about by the events of December 2001, it is important first to consider the political, social and economic forms of (...) capitalist transformations and crises that shaped them. Secondly, to locate this event in historical perspective, as a constitutive node within a non-teleological continuum of resistance. Thirdly, to view capitalist crises as presenting open opportunities for the reinvention of the forms of resistance, and to underscore that reinvention occurs as a result of simultaneous struggles against capital and for self-affirmation and recognition. By using examples of organisational innovation and social intervention by the piquetero movement it is suggested that December 2001 led to new practices or facilitated the development of existing forms of collective action that have often been overlooked by those disappointed by the ensuing political developments. The article also discusses the problem of periodisation, addressing the relationship between Marxism and the use of data produced by non-Marxist researchers, and calls into question the adequacy of Cartesian rationality for understanding December 2001 and the meaning of political change in Argentina. (shrink)

This case study aims to preserve and disseminate cultural heritage information about the North American community folk dance tradition of contra dance through development of a thesaurus of choreographic terms and a domain ontology. A survey of dance resources was conducted, reviewing historic and modern examples of contra dance choreography notation and instructions, records of dance events, and recordings of dance performances. Domain and content analysis were performed on the resources to collect and organize (...) concepts and themes regarding choreographic components and their relationships, the structure and function of cultural works, their creative expressions, and the evidence of those expressions in documents and recordings. Vocabulary used in the description of contra dance choreography was identified, classified, and notated to build a thesaurus, which was used as the basis of a domain ontology. Ontology building methodology and existing conceptual models for cultural heritage domains guided the ontology development and revision phases. The study also seeks to safeguard an intangible cultural heritage by applying knowledge organization and semantic approaches to folk dance in order to model such challenges as multiple, simultaneous modes of communication and forms of representation, modular conceptual components, descriptive sequences, differing levels of structured information, and complex cultural networks found at various levels of domain discourse. (shrink)

This article aims to contribute to the debate on the short- to medium-term political implications of the 2001 Argentine crisis. The bulk of the argument deals with the criticism of the notion of 'reinvention of politics'. The article presents the theoretical premises and empirical data which sustain this proposal. It is argued that in order to appreciate the political innovation brought about by the events of December 2001, it is important first to consider the political, social and economic forms of (...) capitalist transformations and crises that shaped them. Secondly, to locate this event in historical perspective, as a constitutive node within a non-teleological continuum of resistance. Thirdly, to view capitalist crises as presenting open opportunities for the reinvention of the forms of resistance, and to underscore that reinvention occurs as a result of simultaneous struggles against capital and for self-affirmation and recognition. By using examples of organisational innovation and social intervention by the piquetero movement it is suggested that December 2001 led to new practices or facilitated the development of existing forms of collective action that have often been overlooked by those disappointed by the ensuing political developments. The article also discusses the problem of periodisation, addressing the relationship between Marxism and the use of data produced by non-Marxist researchers, and calls into question the adequacy of Cartesian rationality for understanding December 2001 and the meaning of political change in Argentina. (shrink)

The specific goal of the article is to investigate the principles governing the perception of rhythmic structure in dance and music—taken separately and together—on the basis of a case study. I take as a starting point Lerdahl and Jackendoff’s (A generative theory of tonal music. MIT Press, 1983) conception of musical rhythm as the interaction between grouping and meter, and I examine to what extent it can apply to dance. Then, I explore how the rhythmical structures of music (...) and dance interact in a single event. I conclude that dance and music perception largely share the same abstract system, and the differences in the properties of their structure derives from the different (visual vs. auditory) modalities in which they are perceived; their modality difference also affects the perceived structure resulting from their combination in dance-music events. The exploration is guided by a detailed examination of the opening of Stravinsky’s _Augurs of Spring_ (1913) as choreographed by Nijinsky (1913), Béjart (1970) and Bausch (1975). By comparing these minimal pairs of dance-music events, I adapt the formal methodology of linguistics to other cognitive systems. The general goal of the article is to shed further light on the organizational principles of mental representations by comparing several cognitive systems in order to distinguish between general cognitive properties and modality-specific or domain-specific properties. (shrink)

Introduction. Activist philosophy and the occurrent arts -- The ether and your anger toward a speculative pragmatism -- The thinking-feeling of what happens putting the radical back in empiricism -- The diagram as technique of existence ovum of the universe segmented -- Arts of experience, politics of expression In four movements. First movement. To dance a storm -- Second movement. Life unlimited -- Third movement. The paradox of content -- Fourth movement. Composing the political.

The act of dance appears as a pattern of conscious movements in space and time, but a dancer who has the ability to go beyond the limits of space and time (experientially) can bring about a non-local experience of oneself and the audience making it an ecstatic communion. In this paper, we are interested in examining the extent of subjective experience of a dancer and his audience; hence, we take up a case study in first-person to understand the performer-audience (...) interaction. For this purpose, we chose Indian contemporary dancer Astad Deboo, an artist who is known to create such a magical two-way interaction consigning his audience as well as himself to a state of being mesmerized. The art of creating a non-localexperience seems to be his forte, where the audience can feel him within, while he feels his audience within. To explain this phenomenon, we propose the resonance of inner experiential states of the performer and audience as the underlying mechanism that creates a non-local interaction between them. To validate the present hypothesis, one must subject both the performer and observer to experimental studies, which involve simultaneous tracking and monitoring of the active zones in the brain associated with performing and performance viewing. In the above context, it would also be interesting to see if there exists a point of time during the performance event, where both these subjects report similar active zones in the brain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy—Aesthetics—Education:Reflections on DanceTyson Lewis (bio)To create is to lighten, to unburden life, to invent new possibilities of life. The creator is legislator—dancer.—Gilles Deleuze, Pure ImmanenceThe Italian philosopher Giorgio Agamben is perhaps best known for his ongoing interest in the problem of "biopower." Taking up where Michel Foucault ended, Agamben argues that the principle political and philosophical questions of the moment concern the connections between life and power. In this (...) sense, he stands in diametric opposition to one of the leading French intellectuals of our times: Alain Badiou. For Badiou, the key question of the present is not so much power and the body as it is the ethics of truth. According to Agamben, Badiou's project has abandoned thinking about the biopolitics of life and as such is both philosophically and politically suspect. But does Agamben's critique prematurely dismiss Badiou? In other words, does his critique prevent us from recognizing the precise location of biopolitics in Badiou's work? It is my contention that we must read Badiou not against but from within a biopolitical framework in order to realize both the validity of Agamben's criticism and its limitations. In fact, it is through the critical lens of biopolitical theory that we can begin to see the unique links in Badiou's thinking between aesthetics, the body, and education. In conclusion, I argue that Agamben provides insights missed by Badiou's reduction of the animal body to the disavowed grounds for the grace and beauty of truth, while at the same time Badiou provides Agamben's own theory of biopolitics with a unique educative practice: the practice of dance.Here I would like to justify this philosophical inquiry for educational theorists. With the fate of art-based educational programs uncertain in the [End Page 53] face of standardization, it is perhaps time to reassess legitimating claims for retaining arts education programs. By reading Badiou through Agamben, I hope to provide a new reason for advocating the centrality of dance in educational programs and assert the inherently educative qualities of movement-based curricula. Second, I hope to suggest in my conclusion that dance is an important form of educational practice antithetical to current forms of capitalist "bioproduction." As such, I will link together my own theory of dance education with the critical pedagogical tradition in order to anchor the "utopian imagination" in a practice of the body. This is an attempt to fill in a rather vague sphere of critical pedagogical research and theory: aesthetic practice. Overall, this article will bring together two important philosophical traditions—Agamben's biopolitical theory and Badiou's theory of truth—in order to examine their relation to education and, in turn, how education is a central concept for thinking through contemporary continental philosophical traditions.Biopower and Event: Situating the Subject in Relation to TruthMichel Foucault first coined the theoretical concept "biopower" in his work on the history of sexuality.1 In order to understand Foucault's meaning we must first separate biopower from sovereign power, which is characterized by the "right to decide life and death."2 The sovereign—which for Foucault is not simply a form of territorial rule but is a principle of power relations—decides who lives and who dies. Power here is the power of the sword that marks the body directly through overt forms of public torture and violence. But in the classical age and with the rise of capitalist social relations, the form and function of power switched. Famously, Foucault wrote that the highest function of power "was perhaps no longer to kill, but to invest life through and through."3 This new form of power—whose concern was no longer death but the maintenance and regulation of life—operates on two interconnected levels. First, biopower conceives of the body as a machine, which must be disciplined in order to be made more efficient. Here, power acts as microphysics, training the individual body in order to reach a high level of social efficiency. Second, on the macro level, biopower transforms the populous into a population that has to be carefully regulated in terms of propagation rates, health levels... (shrink)

In the Indigenous resistance movement that came to be known as “Idle No More,” round dances played a central role. From the beginning of the movement in western Canada in the winter of 2012–13, and as it spread across Turtle Island and throughout the world, round dances served to bring together Indigenous and non-Indigenous activists with people in the streets. “At almost every event, we collectively embodied our diverse and ancient traditions in the round dance by taking the (...) movement to the streets, malls and highways across Turtle Island”. But why was the round dance important, and how does the dance work to support political resistance? (shrink)

In the Indigenous resistance movement that came to be known as “Idle No More,” round dances played a central role. From the beginning of the movement in western Canada in the winter of 2012–13, and as it spread across Turtle Island and throughout the world, round dances served to bring together Indigenous and non-Indigenous activists with people in the streets. “At almost every event, we collectively embodied our diverse and ancient traditions in the round dance by taking the (...) movement to the streets, malls and highways across Turtle Island”. But why was the round dance important, and how does the dance work to support political resistance? (shrink)

How does a dancer become a world renowned leader of an experimental creative dance space? The influences leading to the development of the Margaret Jenkins Dance Company are many and include historical events, family background, mentors, and private intangible states of being. Creative collaboration, a prized modus operandi, honors working with multidiscipline artists. The creative process, with all its ambiguities and conundrums, is perceived as ever-evolving. The physical creative space reflects the times we live in as well as (...) the growth and development of the artist. (shrink)

Performance-as-philosophy and Philosophy-as-performance. Interdisciplinary Approaches to Understand Dance Performance Philosophy refers to an international network of researchers, practitioners, scholars, and activists who investigate new forms of thinking, performing and practicing philosophy through international conferences and events. An independent journal and a book series of the same name also aim to define the perimeter of an emerging international interdisciplinary field of thought....

EEGs were analyzed to investigate the effect of experiences in listening to preferred music in dancers and non-dancers. Participants passively listened to instrumental music of their preferred genre for 2 min, alternate genres, and silence. Both groups showed increased activity for their preferred music compared to non-preferred music in the gamma, beta, and alpha frequency bands. The results suggest all participants' conscious recognition of and affective responses to their familiar music, appreciation of the tempo embedded in their preferred music and (...) emotional arousal, and enhanced attention mechanism for cognitive operations such as memory retrieval. The observed alpha activity is considered in the framework of the alpha functional inhibition hypothesis, in that years of experience listening to their favorite type of music may have honed the cerebral responses to achieve efficient cortical processes. Analyses of the electroencephalogram activity over 100s-long music pieces revealed a difference between dancers and non-dancers in the magnitude of an initial alpha event-related desynchronization and the later development of an alpha event-related synchronization for their preferred music. Dancers exhibited augmented alpha ERD, as well as augmented and uninterrupted alpha ERS over the remaining 80s. This augmentation in dancers is hypothesized to be derived from creative cognition or motor imagery operations developed through their dance experiences. (shrink)

One of the most important aspects of Gilles Deleuzes philosophy is his criticism of the traditional concept of praxis. In Aristotelian philosophy praxis is properly oriented towards some end, and in the case of human action the ends of praxis are oriented towards the agents good life. Human goods are, for both Aristotle and contemporary neo-Aristotelians, determined by the potentials of human life such as rationality, communality, and speech. Deleuzes account of action, by contrast, liberates movement from an external end. (...) In his books on cinema Deleuze argues that we need to think of events in terms of their power, and not as movements within an already determined image of life. In order to think events as such we need to confront the power of the virtual. This is achieved by a philosophy of life in which becoming is not a means towards the realisation of some end. Rather, becomings are best seen as counter-actualisations: ways in which the already-constituted actual world always bears a power to become other than it already is. If we consider dance in this new context, then dance is neither expressive of an already existing life, nor a pure act that is self-sufficient and self-constituting. Rather, dance is a confrontation with life as a plane of open and divergent becomings. (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)

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.

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

Adventure -- Call -- Brother paul -- Transgression -- Two loves -- Freedom -- Interlude -- Freedom again -- Between Heidegger and Derrida -- Dancing in the void -- The advent of weak theology -- Kingdom.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.