History of Philosophy Commons^™

Dancing Philosophy: What Happens To Philosophy When Considered From The Point Of View Of A Dancer, Aili W. Bresnahan

Aili Bresnahan

Western philosophical aesthetics tends to answer the question, “What is art?” by starting with the perspective of the art appreciator. What does the spectator perceive in the artistic entity at issue? For example, are these properties formal and tangible, an arrangement of lines and colors as provided by Clive Bell’s theory of significant form? Are they contextual—are they, for example, the expression of the experience of a particular culture? Or are these properties relational in the sense of being a comment on or response to another art-historical movement, such as Cubism?

Starting from this perspective, the methodology tends to begin …

How Artistic Creativity Is Possible For Cultural Agents, Aili W. Bresnahan

Aili Bresnahan

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 and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks …

Censorship As Catalyst For Artistic Innovation, Aili W. Bresnahan

Aili Bresnahan

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 …

Improvisation In The Arts, Aili W. Bresnahan

Aili Bresnahan

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 will be explored. This article concludes with the suggestion that further research and discussion on improvisation in the arts …

Joseph Margolis, Aili W. Bresnahan

Aili Bresnahan

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

Aili Bresnahan

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 …

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

Aili Bresnahan

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

Aili Bresnahan

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 …

Review: 'The Philosophical Aesthetics Of Dance: Identity, Performance, And Understanding', Aili W. Bresnahan

Aili Bresnahan

Graham McFee is one of the few philosophers who can be credited with helping to pioneer and forge a path for dance as a fine art in the field of analytic aesthetics. His 1992 book, Understanding Dance, following Francis Sparshott’s 1988 book Off the Ground: First Steps to a Philosophical Consideration of the Dance, was a significant introductory step toward situating dance in a field that has traditionally focused primarily and nearly exclusively on painting, sculpture, literature, and (more recently) music.

In general dance has not been taken seriously as a legitimate art form by the philosophic academy; indeed, it …