Arts and Humanities Commons^™

Toward A Deweyan Theory Of Ethical And Aesthetic Performing Arts Practice, Aili W. Bresnahan

Philosophy Faculty Publications

This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things:

1. The unity Dewey ascribed to all intelligent practices (including artistic practice) and
2. 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 in life), but it does suggest that we might use his theory of ethical practice in conjunction with his …

Improvisational Artistry In Live Dance Performance As Embodied And Extended Agency, Aili W. Bresnahan

Philosophy Faculty Publications

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, this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how …

The Mechanistic Approach Of 'The Theory Of Island Biogeography' And Its Current Relevance, Viorel Pâslaru

Philosophy Faculty Publications

Philosophers of science have examined The Theory of Island Biogeography by Robert MacArthur and E. O. Wilson (1967) mainly due to its important contribution to modeling in ecology, but they have not examined it as a representative case of ecological explanation. In this paper, I scrutinize the type of explanation used in this paradigmatic work of ecology. I describe the philosophy of science of MacArthur and Wilson and show that it is mechanistic. Based on this account and in light of contributions to the mechanistic conception of explanation due to Craver (2007), and Bechtel and Richardson (1993), I argue that …

Books And Our Human Stories, Paul H. Benson

Philosophy Faculty Publications

An essay on the impact of the works in the Imprints and Impressions: Milestones in Human Progress, an exhibition of rare books from the collection of Stuart Rose. Exhibition was held Sept. 29-Nov. 9, 2014, at the University of Dayton.

Joseph Margolis, Aili W. Bresnahan

Philosophy Faculty Publications

Margolis’s methodology is best located in the pragmatic tradition, broadly construed. His pragmatism lies in his commitment to understanding the world as part of collective and consensual human practice and situated interaction; his embracing of the changing nature of history and science; and his approach to human knowledge as constructed.

In particular this pragmatic bent is evidenced by his affinity for Charles Sanders Peirce’s semeiotics, by which thought shows us the real world through the interpretation of signs and symbols, the existence of mind legitimated as “objective” and “real.” Margolis also uses Peirce’s theory of predicative generals (as constructed but …

Morris Weitz, Aili W. Bresnahan

Philosophy Faculty Publications

Morris Weitz’s initial theory of art was provided in his book Philosophy of the Arts (1950). Here Weitz calls his theory of art “empirical” and “organic,” and he defined “art” as “an organic complex or integration of expressive elements embodied in a sensuous medium." By “empirical” he means that his theory answers to the evidence provided by actual works of art. “Organic,” for Weitz, means that each element is to be considered in relation to the others in a living and not merely mechanical way. Weitz also has a broad understanding of “expressive,” which refers to an artistic property that …

Censorship As Catalyst For Artistic Innovation, Aili W. Bresnahan

Philosophy Faculty Publications

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 theater in Pakistan following state-sanctioned suppressions of women, this paper demonstrates that human identity-related arts censorship can actually serve to spur and enhance, rather than …