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  1. Aphantasia, imagination and dreaming.Cecily M. K. Whiteley - 2020 - Philosophical Studies 178 (6):2111-2132.
    Aphantasia is a recently discovered disorder characterised by the total incapacity to generate visual forms of mental imagery. This paper proposes that aphantasia raises important theoretical concerns for the ongoing debate in the philosophy and science of consciousness over the nature of dreams. Recent studies of aphantasia and its neurobehavioral correlates reveal that the majority of aphantasics, whilst unable to produce visual imagery while awake, nevertheless retain the capacity to experience rich visual dreams. This finding constitutes a novel explanandum for (...)
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  • (1 other version)Choreographing Empathy.Susan Leigh Foster & Choreographing Empathy - 2005 - Topoi 24 (1):81-91.
    The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor to situate (...)
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  • Dancing Around the Issues: Prospects for an Empirically Grounded Philosophy of Dance.David Davies - 2013 - Journal of Aesthetics and Art Criticism 71 (2):195-202.
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  • Two Systems for Mindreading?Peter Carruthers - 2016 - Review of Philosophy and Psychology 7 (1):141-162.
    A number of two-systems accounts have been proposed to explain the apparent discrepancy between infants’ early success in nonverbal mindreading tasks, on the one hand, and the failures of children younger than four to pass verbally-mediated false-belief tasks, on the other. Many of these accounts have not been empirically fruitful. This paper focuses, in contrast, on the two-systems proposal put forward by Ian Apperly and colleagues. This has issued in a number of new findings. The present paper shows that the (...)
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  • (1 other version)Choreographing empathy.Susan Leigh Foster - 2004 - Topoi 24 (1):81-91.
    The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor to situate (...)
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  • (1 other version)Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. WALTON - 1990 - Philosophy 66 (258):527-529.
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  • Proprioception as an aesthetic sense.Barbara Montero - 2006 - Journal of Aesthetics and Art Criticism 64 (2):231-242.
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  • Proprioceiving someone else's movement.Barbara Montero - 2006 - Philosophical Explorations 9 (2):149 – 161.
    Proprioception - the sense by which we come to know the positions and movements of our bodies - is thought to be necessarily confined to the body of the perceiver. That is, it is thought that while proprioception can inform you as to whether your left knee is bent or straight, it cannot inform you as to whether someone else's knee is bent or straight. But while proprioception certainly provides us with information about the positions and movements of our own (...)
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  • Understanding Dance.Graham Mcfee - 1993 - Journal of Aesthetics and Art Criticism 51 (4):644-646.
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  • Representation and make-believe.Alan H. Goldman - 1990 - Inquiry: Critical Thinking Across the Disciplines 36 (3):335 – 350.
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  • Introduction to the Dance.John Martin - 1968 - Journal of Aesthetics and Art Criticism 26 (3):399-400.
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  • Responding Bodily.Renee M. Conroy - 2013 - Journal of Aesthetics and Art Criticism 71 (2):203-210.
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