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| Content Provider | Springer Nature Link |
|---|---|
| Author | Montero, Barbara |
| Copyright Year | 2011 |
| Abstract | According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed. |
| Starting Page | 59 |
| Ending Page | 68 |
| Page Count | 10 |
| File Format | |
| ISSN | 15687759 |
| Journal | Phenomenology and the Cognitive Sciences |
| Volume Number | 11 |
| Issue Number | 1 |
| e-ISSN | 15728676 |
| Language | English |
| Publisher | Springer Netherlands |
| Publisher Date | 2011-10-26 |
| Publisher Place | Dordrecht |
| Access Restriction | One Nation One Subscription (ONOS) |
| Subject Keyword | Dance Aesthetic Motor perception Kinesthesia Mirror neurons Ballet Calvo-Merino Hume Philosophy of Mind Phenomenology Interdisciplinary Studies Artificial Intelligence (incl. Robotics) |
| Content Type | Text |
| Resource Type | Article |
| Subject | Philosophy Cognitive Neuroscience |
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