Results for 'improvisation'

66 found
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  1. Improvisation and the self-organization of multiple musical bodies.Ashley E. Walton, Michael J. Richardson, Peter Langland-Hassan & Anthony Chemero - 2015 - Frontiers in Psychology 6:1-9.
    Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of (...)
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  2. 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 (...)
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  3. 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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  4. Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities.Iain Campbell - 2021 - Contemporary Music Review 40 (4):409-424.
    In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. (...)
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  5. Improvisation and Installation Art”.Elisa Caldarola - 2021 - In Alessandro Bertinetto & Marcello Ruta (eds.), The Routledge Handbook of Philosophy and Improvisation in the Arts. Routledge.
    This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. (...)
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  6. Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.William Day - 2000 - Journal of Aesthetics and Art Criticism 58 (2):99-111.
    This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the (...)
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  7. Performing the Unexpected Improvisation and Artistic Creativity.Alessandro Bertinetto - 2012 - Daimon: Revista Internacional de Filosofía 57:117-135.
    In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the phenomenology (...)
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  8. Jazz Improvisation, the Body, and the Ordinary.William Day - 2002 - Tidskrift För Kulturstudier 5:80-94.
    What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of (...), Ways of the Hand. Sudnow claims that learning to improvise at the piano is concerned centrally with copying the bodily ways of one's mentors and finding how one's instructable hands and the keyboard come to answer to one another, so that "to define jazz ... is to describe the body's ways." But despite its greater sensitivity over the traditional account, Sudnow's account is flawed both as a description of how improvisatory skill is acquired and as a model for describing the interest of jazz. My critique of Sudnow compares his account to Augustine's account of learning language, and finds that Wittgenstein's criticisms of Augustine extend to Sudnow. I offer a third approach to understanding improvised music, one which treats the procedures of improvisation as derived from, and importantly at play in, our everyday actions. (shrink)
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  9. The Ends of Improvisation.William Day - 2010 - Journal of Aesthetics and Art Criticism 68 (3):291-296.
    This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...)
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  10. Towards a wide approach to improvisation.Joel Krueger & Alessandro Salice - 2021 - In J. McGuirk, S. Ravn & S. Høffding (eds.), Improvisation: The Competence(s) of Not Being in Control. Routledge.
    This paper pursues two main aims. First, it distinguishes two kinds of improvisation: expert and inexpert. Expert improvisation is a (usually artistic) practice that the agent consciously sets as their goal and is evaluated according to (usually artistic) standards of improvisation. Inexpert improvisation, by contrast, supports and structures the agent’s action as it moves them towards their (usually everyday life) goals and is evaluated on its success leading the agent to the achievement of those goals. The (...)
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  11. Improvisation, Dialectics and One-dimensional Thinking.Furkan Yazici - 2023 - Sofia Philosophical Review 2:127-137.
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  12. 'Yes, and ...': having it all in improvisation studies.John Sutton - 2021 - In J. McGuirk, S. Ravn & S. Høffding (eds.), Improvisation: The Competence(s) of Not Being in Control. Routledge. pp. 200-209.
    As one of the first readers of this fine collection of chapters in improvisation studies, I’ve been interactively constructing my experiences and interpretations of the chapters as I go along. Engaged reading – like all our characteristic activities – has a substantial improvisatory dimension. Readers are neither passively downloading data transmitted fully formed from the contributors’ minds nor making up whatever we like, projecting our own views onto a blank slate of a book. In forging and sharing here my (...)
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  13. Interstitial Soundings: Philosophical Reflections on Improvisation, Practice, and Self-Making.Cynthia R. Nielsen - 2015 - Eugene, Oregon: Wipf and Stock Publishers.
    In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...)
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  14. God et al—World-Making as Collaborative Improvisation: New Metaphors for Open Theists.Mark Steen - 2022 - In K. J. Clark and J. Koperski (ed.), Abrahamic Reflections on Randomness and Providence. pp. 311-338.
    The Abrahamic traditions regard God as the world’s author. But what kind of author? A novelist? A playwright? Perhaps a composer of classical music? I will argue that it is best to regard God as like an improvisational play director or the leader of a jazz ensemble. Each determines the broad melodic contours or coarse-grained plot beforehand, while allowing their musicians or actors, and chance, to fill in the more fine-grained details. This analogy allows us to regard God as the (...)
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  15. “Notes on Improvisation and Freedom. Transgressing Self in Musical Performance”.Małgorzata A. Szyszkowska - 2018 - Interdisciplinary Studies in Musicology 1 (18/2018):97-106.
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  16. The gift of silence : towards an anthropology of jazz improvisation as neuroresistance.Martin E. Rosenberg - 2021 - In Alice Koubová & Petr Urban (eds.), Play and Democracy: Philosophical Perspectives. New York, NY: Routledge.
    Martin E. Rosenberg -/- The Gift of Silence: Towards an Anthropology of Jazz Improvisation as Neuro-Resistance. -/- ABSTRACT: -/- This essay addresses how the complex processes that occur during jazz improvisation enact behaviors that resemble the logic of gift exchange first described by Marcel Mauss. It is possible to bring to bear structural, sociological, political economical, deconstructive or even ethical approaches to what constitutes gift exchange during the performance of jazz. Yet, I would like to shift from focusing (...)
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  17. “Il governo del corpo attraverso il movimento disciplinato e la ricerca della variazione intensiva nella contact improvisation.”.Claudia Landolfi - 2014 - Passparnous 17 (2281-9223).
    The object of this investigation is the connection between dance and modern philosophy. The body has been disciplined in modern era in a very peculiar way which is conveyed into governmental processes of optimization of the bodily potentiality. Dance has not only an aesthetic value but a political one. In this contribution I analyse the government of the body through disciplined movement and the research for the intensive variations in the contemporary sperimental 'contact improvisation'.
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  18. Suspending the Habit Body through Immersive Resonance:Hesitation and Constitutive Duet in Jen Reimer and Max Stein’s Site-Specific Improvisation.Rachel Elliott - 2018 - Critical Studies in Improvisation/ Études Critiques En Improvisation 12 (2):1 - 11.
    There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. (...)
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  19. How We Get Along.James David Velleman - 2009 - New York: Cambridge University Press. Edited by J. David Velleman.
    In How We Get Along, philosopher David Velleman compares our social interactions to the interactions among improvisational actors on stage. He argues that we play ourselves - not artificially but authentically, by doing what would make sense coming from us as we really are. And, like improvisational actors, we deal with one another in dual capacities: both as characters within the social drama and as players contributing to the shared performance. In this conception of social intercourse, Velleman finds rational grounds (...)
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  20. Zur Kommunikation in kollektiv improvisierter Musik. Kommunikationstheoretische und interkulturelle Aspekte.Martin A. M. Gansinger - 2009 - Südwestdeutscher Verlag für Hochschulschriften.
    In der musikalischen Methode der kollektiven Improvisation kommt eine Spielauffassung zum Ausdruck, deren demokratisch-emanzipatorische Grundeinstellung Vergleiche mit dem von Jürgen Habermas formulierten Konzept der idealen Sprechsituation nahe legt. Diese Vermutung wird im Rahmen einer einleitenden Annäherung an die kollektive Improvisation als von Interaktivität und Synchronizität geprägtes Beziehungsgeschehen näher ausgeführt. Nach einer Diskussion des improvisatorischen Handelns in der Musik in Bezug auf theoretische, historische und psychologische Aspekte werden die verschiedenen, aus dem Free Jazz der 1960er Jahre hervorgegangenen Entwicklungsstufen der (...)
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  21.  79
    Improvisación para mejorar: La importancia de la filosofía en la universidad.Kevin Stevenson - 2016 - Investigaciones Fenomenológicas 13:193.
    The status of philosophy is contingent upon the civilizations that embrace or undermine its importance. Such status is never fully understood, nor clear, due in part to its inutility. In a goal-oriented world, philosophizing is pointless if it does not produce material results. One point of philosophy though is not only to recognize, but promote activities which are uniquely human and which therefore artificial intelligence could not possibly simulate. Improvisation, as one such activity, can reveal the importance of philosophy (...)
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  22. Habitually Breaking Habits.Joshua A. Bergamin - forthcoming - Phenomenology and the Cognitive Sciences.
    In this paper, I explore the question of agency in spontaneous action via a phenomenology of musical improvisation, drawing on fieldwork conducted with large con- temporary improvising ensembles. I argue that musical improvisation is a form of ‘participatory sense-making’ in which musical decisions unfold via a feedback pro- cess with the evolving musical situation itself. I describe how musicians’ technical expertise is developed alongside a responsive expertise, and how these capacities complicate the sense in which habitual action can (...)
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  23. The Evolution of Imagination.Stephen T. Asma - 2017 - Chicago: University of Chicago Press.
    Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience and (...)
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  24. “What Has Coltrane to Do With Mozart: The Dynamism and Built-in Flexibility of Music”.Cynthia R. Nielsen - 2009 - Expositions 3:57-71.
    Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out through (...)
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  25. Playin(g) Iterability and Iteratin(g) Play : Tradition and Innovation in Jazz Standards.Francesco Paradiso - 2017 - Epistrophy 2.
    This study draws a comparative framework between deconstructive reading of texts and jazz standards. It will be argued that both are defined by the constant play of tradition and innovation. On the one hand, the repetition of a set of rules and dominant understanding of texts/tunes that generates tradition. On the other hand, invention and improvisation that take on that tradition and generate innovation. The act of reading/playing becomes also an act of invention/improvisation that manifests a constant tension (...)
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  26. (1 other version)Aspekte von interkultureller Kommunikation in der Musik.Martin A. M. Gansinger - 2017 - Immediate. Currents in Communication, Culture and Philosophy 1 (2).
    Im institutionalisierten Bereich interkultureller Beziehungen kommt es permanent zu Bemühungen, über gemeinsame musikalische Projekte Brücken zum Austausch von Lebensrealitäten und Erfahrungen zu erzielen. In vielen Fällen besteht jedoch nicht die Gelegenheit des gegenseitigen Austausches, weil die beteiligten Akteure entweder nebeneinander agieren, ohne aufeinander einzugehen und die Impulse ihres Gegenübers in den eigenen Beiträgen zu reflektieren, oder aber eine der beiden Bestandteile den anderen dominiert, und keine entsprechende Gelegenheit zur gleichberechtigten Artikulation einräumt. Der Grund dafür liegt häufig in der Starrheit der (...)
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  27. The metaphysics of cognitive artifacts.Richard Heersmink - 2016 - Philosophical Explorations 19 (1):78-93.
    This article looks at some of the metaphysical properties of cognitive artefacts. It first identifies and demarcates the target domain by conceptualizing this class of artefacts as a functional kind. Building on the work of Beth Preston, a pluralist notion of functional kind is developed, one that includes artefacts with proper functions and system functions. Those with proper functions have a history of cultural selection, whereas those with system functions are improvised uses of initially non-cognitive artefacts. Having identified the target (...)
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  28. Expertise and Conspiracy Theories.M. R. X. Dentith - 2018 - Social Epistemology 32 (3):196-208.
    Judging the warrant of conspiracy theories can be difficult, and often we rely upon what the experts tell us when it comes to assessing whether particular conspiracy theories ought to be believed. However, whereas there are recognised experts in the sciences, I argue that only are is no such associated expertise when it comes to the things we call `conspiracy theories,' but that the conspiracy theorist has good reason to be suspicious of the role of expert endorsements when it comes (...)
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  29. Loving Someone in Particular.Benjamin Bagley - 2015 - Ethics 125 (2):477-507.
    People loved for their beauty and cheerfulness are not loved as irreplaceable, yet people loved for “what their souls are made of” are. Or so literary romance implies; leading philosophical accounts, however, deny the distinction, holding that reasons for love either do not exist or do not include the beloved’s distinguishing features. In this, I argue, they deny an essential species of love. To account for it while preserving the beloved’s irreplaceability, I defend a model of agency on which people (...)
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  30. Reflection in communicative jazz action.Mattias Solli & Thomas Netland - 2023 - In Bengt Molander, Thomas Netland & Mattias Solli (eds.), Knowing our ways about in the world: Philosophical perspectives on practical knowledge. Scandinavian University Press. pp. 140-163.
    This chapter aims to deepen Donald Schön’s insight about jazz playing as an example of what he calls “reflection-in-action” (RiA) by situating this notion within the enactive view of humans as linguistic bodies. Our main claim is that the knowl-edge or skills displayed by expert jazz musicians must be understood as aural and communicative in nature. After presenting the notions of RiA and linguistic bodies, we develop our view through a critical discussion of four statements from Schön’s passage on jazz (...)
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  31. The arts of action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  32. Gadamer, la belleza y la improvisación musical.Babette Babich - 2023 - Boletín de Estética (63):7-78. Translated by Facundo Bey.
    Resumen: En La actualidad de lo bello, Gadamer hace una referencia reveladora a la improvisación musical y a la importancia de la escucha musical, además de poner en primer plano la necesidad de justificación del arte. Situando este debate a través de Goethe y Platón, junto con las Lecciones de Estética de Adorno de finales de la década de 1950 y una discusión sobre Nietzsche y la Antigüedad, es posible establecer que lo que está en juego es la afinación, así (...)
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  33. Being-in-the-flow: expert coping as beyond both thought and automaticity.Joshua A. Bergamin - 2017 - Phenomenology and the Cognitive Sciences 16 (3):403-424.
    Hubert Dreyfus argues that explicit thought disrupts smooth coping at both the level of everyday tasks and of highly-refined skills. However, Barbara Montero criticises Dreyfus for extending what she calls the ‘principle of automaticity’ from our everyday actions to those of trained experts. In this paper, I defend Dreyfus’ account while refining his phenomenology. I examine the phenomenology of what I call ‘esoteric’ expertise to argue that the explicit thought Montero invokes belongs rather to ‘gaps’ between or above moments of (...)
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  34. Cognitive ontology in flux: The possibility of protean brains.Daniel D. Hutto, Anco Peeters & Miguel Segundo-Ortin - 2017 - Philosophical Explorations 20 (2):209-223.
    This paper motivates taking seriously the possibility that brains are basically protean: that they make use of neural structures in inventive, on-the-fly improvisations to suit circumstance and context. Accordingly, we should not always expect cognition to divide into functionally stable neural parts and pieces. We begin by reviewing recent work in cognitive ontology that highlights the inadequacy of traditional neuroscientific approaches when it comes to divining the function and structure of cognition. Cathy J. Price and Karl J. Friston, and Colin (...)
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  35. Logical Theatrics, or Floes on Flows: Translating Quine with the Shins.Joshua M. Hall - 2016 - European Journal of Pragmatism and American Philosophy 8 (2).
    I will begin this comparative analysis with Quine, focusing on the front matter and first chapter of Word and Object (alongside From a Logical Point of View and two other short pieces), attempting to illuminate there a (1) basis of excessive, yet familiar, chaos, (2) method of improvised, dramatic distortion, and (3) consequent neo-Pragmatist metaphysics. Having elaborated this Quinian basis, method and metaphysics, I will then show that they can be productively translated into James Mercer’s poetic lyrics for The Shins, (...)
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  36.  41
    Spirit Tactics, Exorcising Dances.Joshua M. Hall - 2024 - Idealistic Studies 54 (1):27-48.
    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 (...)
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  37. Astral legal justice: Between law’s poetry and justice’s dance.Joshua M. Hall - 2023 - South African Journal of Philosophy 42 (2):108-116.
    In this article, I build on my recent conceptions of law as poetry and of justice as dance by articulating three new conceptions of the relationship between law and justice. In the first, “poetry-based justice”, justice consists of a rigid choreography to a kind of musical recitation of the law’s poetry. In the second, “dancing-based law”, justice consists of spontaneous, freely improvised movement patterns that the poetry of the law tries to capture in a kind of musical notation. And in (...)
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  38. Wax On, Wax Off! Habits, Sport Skills, and Motor Intentionality.Massimiliano Lorenzo Cappuccio, Katsunori Miyahara & Jesús Ilundáin-Agurruza - 2020 - Topoi 40 (3):609-622.
    What role does habit formation play in the development of sport skills? We argue that motor habits are both necessary for and constitutive of sensorimotor skill as they support an automatic, yet inherently intelligent and flexible, form of action control. Intellectualists about skills generally assume that what makes action intelligent and flexible is its intentionality, and that intentionality must be necessarily cognitive in nature to allow for both deliberation and explicit goal-representation. Against Intellectualism we argue that the habitual behaviours that (...)
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  39. The Phenomenology of the Body Schema and Contemporary Dance Practice: The Example of “Gaga”.Anna Petronella Foultier - 2021 - Journal of Aesthetics and Phenomenology 8 (1):1-20.
    In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living body, that Gallagher often draws (...)
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  40.  78
    (1 other version)Partnering as Rhetoric.Ilya Vidrin - 2018 - In Simon Ellis, Hetty Blades & Charlotte Waelde (eds.), A World of Muscle, Bone & Organs: Research and Scholarship in Dance. Coventry, United Kingdom: Coventry University. pp. 112-131.
    Bodily rhetoric is a burgeoning field, with scholars investing attention to the ways in which non-verbal communication mediates change between individuals and groups in complex scenarios, including political settings. Scenarios in which individuals move together – whether in completely extemporaneous situations or in existing forms such as Contact Improvisation, Argentinian Tango, or Classical Pas de Deux – pose a similarly complex communicative problem. Drawing on the work of Lloyd Bitzer, I demonstrate how rhetorical theory provides methodological insight by which (...)
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  41. Schiller’s Dancing Vanguard: From Grace and Dignity to Utopian Freedom.Joshua M. Hall - 2023 - Idealistic Studies 53 (1):1-21.
    Against caricatures of the poet-philosopher Friedrich Schiller as an unoriginal popularizer of Kant, or a forerunner of totalitarianism, Frederick Beiser reinterprets him as an innovative, classical republican, broadening his analysis to include Schiller’s poetry, plays, and essays not widely available in English translation, such as the remarkable essay, “On Grace and Dignity.” In that spirit, the present article argues that the latter text, misperceived by Anglophone critics as self-contradictory, is better understood as centering on gender and dance. In brief, grace (...)
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  42. Musical Worlds and the Extended Mind.Joel Krueger - 2018 - Proceedings of A Body of Knowledge - Embodied Cognition and the Arts Conference CTSA UCI, 8-10 Dec 2016.
    “4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music can (at least potentially) scaffold (...)
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  43. Dancing-with Cognitive Science: Three Therapeutic Provocations.Joshua M. Hall - forthcoming - Middle Voices.
    According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s overemphasis on cognition (...)
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  44. The Moral Person in a Narrative Frame: Psychic Unity and Moral Responsiveness.Yanni Ratajczyk - 2018 - Ethical Perspectives 25 (4):617-642.
    This article confronts two different evaluations of the narrative identity paradigm in order to examine the possibility of a minimal narrative, practical identity without excessive stress on psychic unity and moral wholeness. It consists of three sections. The first part explains the criticisms of Lippitt and Quinn. Both authors warn of the MacIntyrean narrative model's emphasis on psychic unity and moral wholeness and argue for an ethical thinking that is built around concepts of psychic disunity and moral openness. The second (...)
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  45. The facilitator as self-liberator and enabler: ethical responsibility in communities of philosophical inquiry.Arie Kizel - 2021 - Childhood and Philosophy 17:1-20.
    From its inception, philosophy for/with children (P4wC) has sought to promote philosophical discussion with children based on the latter’s own questions and a pedagogic method designed to encourage critical, creative, and caring thinking. Communities of inquiry can be plagued by power struggles prompted by diverse identities, however. These not always being highlighted in the literature or P4wC discourse, this article proposes a two-stage model for facilitators as part of their ethical responsibility. In the first phase, they should free themselves from (...)
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  46. Risks and Robots – some ethical issues.Peter Olsthoorn & Lambèr Royakkers - 2011 - Archive International Society for Military Ethics, 2011.
    While in many countries the use of unmanned systems is still in its infancy, other countries, most notably the US and Israel, are much ahead. Most of the systems in operation today are unarmed and are mainly used for reconnaissance and clearing improvised explosive devices. But over the last years the deployment of armed military robots is also on the increase, especially in the air. This might make unethical behavior less likely to happen, seeing that unmanned systems are immune to (...)
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  47. Imagine This ….Bruce Sheridan - 2014 - Philosophy and Literature 38 (1A):A279-A292.
    These days, creativity is a hot commodity, the magic ingredient that separates excellence from competence in every field of human endeavor. Yet there is little agreement on what it is, especially in education, where Jean Piaget’s critique of imagination remains influential. I outline the basis for a naturalized conception of creativity rooted in evolutionary processes that are enhanced by and in turn amplify individual and group creativity, and propose that replacing Piaget’s polarization of imagination and realistic thinking with Lev Vygotsky’s (...)
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  48. Rapid initiative assessment for counter-IED investment.Charles Twardy, Ed Wright, Tod Levitt, Kathryn Laskey & Kellen Leister - 2009 - In Charles Twardy, Ed Wright, Tod Levitt, Kathryn Laskey & Kellen Leister (eds.), Proceedings of the Seventh Bayesian Applications Modeling Workshop.
    There is a need to rapidly assess the impact of new technology initiatives on the Counter Improvised Explosive Device battle in Iraq and Afghanistan. The immediate challenge is the need for rapid decisions, and a lack of engineering test data to support the assessment. The rapid assessment methodology exploits available information to build a probabilistic model that provides an explicit executable representation of the initiative’s likely impact. The model is used to provide a consistent, explicit, explanation to decision makers on (...)
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  49. Meaning vs. Power: Are Thick Description and Power Analysis intrinsically at odds? Response to Interpretation, Explanation, and Clifford Geertz.Jason A. Springs - 2012 - Religion Compass 6 (12):534-542.
    This essay clarifies and defends the methodological multidimensionality and improvisational character of Clifford Geertz’s account of interpretation and explanation. In contrast to accounts of power analysis offered by Michel Foucault and Talal Asad, I argue that Geertz’s work can simultaneously attend to meaning, power, identity, and experience in understanding and assessing religious practices and cultural formations.
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  50. The Evolution of Imagination.Asma Stephen - 2017 - University of Chicago Press.
    This book develops a theory of how the imagination functions, and how it evolved. The imagination is characterized as an embodied cognitive system. The system draws upon sensory-motor, visual, and linguistic capacities, but it is a flexible, developmental ability, typified by creative improvisation. The imagination is a voluntary simulation system that draws on perceptual, emotional, and conceptual elements, for the purpose of creating works that adaptively investigate external (environmental) and internal (psychological) resources. Beyond the adaptive useful values of this (...)
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