Abstract

As a speculative and abstract discipline, philosophy is traditionally considered to be in dialectical tension with physical experience and daily practice. In contrast to this conventional and idealistic perspective, and in line with aesthetics as embodied knowledge, this article attempts to show that not only do we constantly think via gestures, movements, and physical experiences but also that there is no need to disconnect a concept from practice. Passing from Wittgenstein’s idea of “form of life” to the pragmatist aesthetics initiated by Dewey’s idea of “art as experience,” I propose an analysis of the philosophical framework of postmodern dance (Yvonne Rainer) and of Happenings (Allan Kaprow), in order to underline the theoretical and conceptual research that is already at work in the field of contemporary art practice, the latter being understood as a sensorial dimension intrinsically linked to ordinary life. My general argument is that gestures, which are an inescapable and vital part of everyday life, can be foregrounded by certain artistic practices without corrupting or theatricalizing their ordinariness.