The term Kathakali has by far become a word that is known widely among theatre lovers all over the world. It is no longer an art intended to perform within the four walls of a temple in Kerala, with only a limited educated upper class to appreciate. In its evolution, it has become a symbol that represents a society, culture and tradition. This paper explores Kathakali art form, tracing its origin and evolution and analyzing how it hasbecome a socio-cultural icon. (...) The paper also intends a comparative analysis of Kathakali with its counterparts – Krishnanaattam, Koodiyattam and Yakshagana – in order to substantiate its pre-eminence. (shrink)

This chapter will explore the ways that live improvisational performances by professional-level actors, musicians, and dancers, take place at both cognitive and sub-cognitive levels in ways that are relevant for understanding perception and appreciation of the performing arts. First, evidence from cognitive science will be used to show that improvising, as in a dance or a music jam session or a scene in theatre, may involve physical responses that occur before we are conscious of the event to which (...) we are responding. Second, this chapter will demonstrate how understanding these cognitive processes can help us to pinpoint why live improvisational performances have aesthetic value. Next, this chapter will consider the extent to which critical appreciation involves the enrichment and supplementation of perceptual experience with interpretive practice. Like the improvising performing artist, the audience member, too, has cognitive processes that occur before conscious articulation of what they have perceived. This means that evaluative judgments of live improvisation in the arts, like the improvisatory decisions that are made by the performers in the performances that they are judging, are not made at the purely perceptual level. (shrink)

The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, (...) for example, in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is 'authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as 'performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept (...) of virtuosity which plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

This paper aims to map out the transformations in contemporary performance art during the current ‘age of extinction’. The first section extends Claire Bishop’s notion of “delegated performance” in order to categorize a turn towards the inclusion of other-than-human entities in the performance field. This operation leads to the concept of ‘performative animism’, referring to the strategies of re-animation of reality through artistic performance. The second section works out the idea of ‘planetarization’ of the performance field, which designates its opening (...) to spatial and temporal fluxes coming from a dimension that overcomes the scale of human experience, that is, the planetary dimension. The third and final section interprets the meaning of these two transformations by introducing the concepts of ‘exbodiment’ and ‘excarnation’, which tie closely to a new political task for performance art. (shrink)

Postphenomenology and posthermeneutics as initiated by Ihde have made important contributions to conceptualizing understanding human–technology relations. However, their focus on individual perception, artifacts, and static embodiment has its limitations when it comes to understanding the embodied use of technology as involving bodily movement, social, and taking place within, and configuring, a temporal horizon. To account for these dimensions of experience, action, and existence with technology, this paper proposes to use a conceptual framework based on performance metaphors. Drawing on metaphors from (...) three performance arts—dance, theatre, and music—and giving examples from social media and other technologies, it is shown that we can helpfully describe technology use and experience as performance involving movement, sociality, and temporality. Moreover, it is argued that these metaphors can also be used to reformulate the idea that in such uses and experiences, now understood as “technoperformances”, technology is not merely a tool but also takes on a stronger, often non-intended role: not so much as “mediator” but as choreographer, director, and conductor of what we experience and do. Performance metaphors thus allow us to recast the phenomenology and hermeneutics of technology use as moving, social, and temporal—indeed historical—affair in which technologies take on the role of organizer and structurer of our performances, and in which humans are not necessarily the ones who are fully in control of the meanings, experiences, and actions that emerge from our engagement with the world, with technology, and with each other. This promises to give us a more comprehensive view of what it means to live with technology and how our lives are increasingly organized by technology—especially by smart technologies. Finally, it is argued that this has normative implications for an ethics and politics of technology, now understood as an ethics and politics of technoperformances. (shrink)

_An exploration of the uncomfortable connections among performances in life, art, and politics_ “All the world’s a stage,” declares the melancholy Jacques in Shakespeare’s_ As You Like It._ Today that’s an unhappy thought. A cluster of demagogues has recently dominated the public realm through their powers as actors; they are brilliant performers. More unsettling, the demagogue, the dancer, and the musician all share the same nonverbal realm of bodily gestures, lighting and blocking, costuming, and stage architecture. So, too, the roles (...) and rituals of everyday life and everyday acting can be malign or sublime, repressive or liberating. Performing constitutes one art—an ambiguous art. In this book, the acclaimed sociologist Richard Sennett explores uncomfortable connections among performances in life, art, and politics. He draws on his own early career as a professional cellist as well as histories both Western and non-Western. He is not a pessimist; at the end of his study, he shows how this ambiguous art might become more ethical. (shrink)

Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. In particular, we (...) begin with theorizations of the subject-object nexus within object-relations theory to consider the transformative potential of aesthetic experience. Using these literatures, and extending them to others within sociology of the arts and materiality, our focus is on the way aesthetic experience can fuse human subjects with aesthetic objects. We examine how viewers take an aesthetic object into themselves and in turn project themselves into the aesthetic object by various visual and imaginative techniques. Our theoretical and empirical analysis bears out the constructive and productive capacity of aesthetic experience. (shrink)

In this article, I engage with aesthetic experience as a central hermeneutic endeavour for theorising performing arts audiences in the Arab region. I argue that a critical engagement with Arab performing arts audiences’ aesthetic experiences necessitates both an archaeological manoeuver and a re-articulation of two keywords: ‘experience’ and ‘everyday’. The article advances, using evidence from research, that allowing the audiences of performing arts in the Arab region to speak may be a step towards democratising (...) the triangular meaning making process among the performer, the audience, and the art institution, and a means towards dislocating, if not liberating, the categories Arab culture, art, performance, and experience, from their teleological articulations. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

The reliefs carved on the _vedikā_ of the Bharhut _stūpa_ in the Satna District of Madhya Pradesh are some of the earliest artworks extant in India to articulate the Buddha’s life stories and the essence of his teaching in a complex visual form. This article proposes that the reliefs from Bharhut depicting episodes from Śākyamuni’s life and _jātakas_ were informed by narrative practices established in the traditions of Buddhist recitation and performance. The inscriptions engraved on the Bharhut _vedikā_ that function (...) as labels for scenes, characters, and places, point to the use of specific storytelling strategies attested in oral recitation and picture scrolls that likely existed as aide-memoire. (shrink)

Throughout the 2016 US presidential election, pundits repeatedly described Donald Trump as a performance artist and his campaign as performance art. Meanwhile, his alt-right supporters were mounting performance art shows, debating the meaning of Marina Abramović’s work, and developing their own theories of political performance. For experts in performance theory, such punditry and provocation is like the image in a funhouse mirror. It’s hard to make sense of such bizarre, distorted images—let alone to recognize ourselves in them. This article insists (...) that, nonetheless, we should try. Trump and his movement pose special challenges to American political culture—and also to academic performance theory. His rise has revealed the limitations of a politics (and performance theory) based on norms and their transgression. It has also given the lie to politicians’ false belief that they (and only they) are not performing their politics. The challenge now—for academics, activists, citizens, and journalists alike—is to articulate how performance works, how it provides models of cultural power. (shrink)

This book brings together a distinguished group of scholars from music, drama, poetry, performance art, religion, classics and philosophy to investigate the complex and developing interaction between performance and authenticity in the arts. The volume begins with a perspective on traditional understandings of that relation, examining the crucial role of performance in the Poetics, the marriage of art with religion, the experiences of religious and aesthetic authenticity, and modernist conceptions of authenticity. Several essays then consider music as a performative (...) art. The final essays discuss the link of authenticity to sincerity and truth in poetry, explain how performance, as an authentic feature of poetry, embodies a collective effort, and culminate in a discussion of the dark side of performance - its constant susceptibility to inauthenticity. Together the essays suggest how issues of performance and authenticity enter into consideration of a wide range of the arts. (shrink)

The Performing Arts in Medieval Islam: Shadow Play and Popular Poetry in Ibn Dāniyāl’s Mamluk Cairo. By Li Guo. Islamic History and Civilization, vol. 93. Leiden: Brill, 2012. Pp. xiii + 240. $136.

This is an examination of the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization. Unlike his contemporaries, Paul Thom concentrates on an analytical approach to evaluating music, drama, and dance. Separating performance art into its various elements enables Thom to study its nature and determine essential features and their relationships. Throughout the book, he debates traditional thought in numerous areas of the performing arts. He argues, for example, against the invisibility of (...) the performer - "the vehicle of representation in performance" - then critiques Diderot's Paradox of Performance, calling it "the most extreme formulation of the traditional valorization," and declaring that such thinking must be abandoned. Developing several lines of reasoning regarding music, Thom considers questions of incompleteness and authenticity in relation to the score, the score's function, and the sense in which musical performances are interpreted, or are open to interpretation. It is this audience interpretation that is the final ingredient in the blending and interrelating of the performers, the performance, and the audience. Thom discusses the impact of music, drama, and dance performances on audiences, and evaluates their expectations, reception, and interpretations. He contends that audiences play an active role as interpreters, without becoming performers themselves. Author note: Paul Thom is head of the Philosophy Department, The Faculties, Australian National University. (shrink)

This article explores the connection between habits and the performing arts, arguing that habits are not only fundamental to the practice and appreciation of these arts but also inherently performative in nature. Drawing on insights from various philosophical traditions (including cognitive science, pragmatism, and phenomenology), it examines how habits function within artistic processes as resources for creativity and adaptation. Engaging critically with Noë’s interpretation of the entanglement between art and life, this article highlights the dual nature of (...) habits: as routine practices that scaffold artistic expression and as dynamic, transformative elements responsive to specific cultural and performative contexts. By focusing on key notions such as gesture, style, and rituality in the performing arts, this article discusses the role of habits in aesthetic experiences, highlighting how habits shape both artistic performances and audience engagement. This perspective challenges traditional views that oppose habits to creativity, defending instead the idea that habits are creatively operative in both the performing arts and their reception. (shrink)

This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy Sherman, (...) Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream. (shrink)

The aim of this article is to point out that attentional practices don’t simply overlap with control and action/reaction dynamics; they are also strictly connected to non-productivity, non-instrumentality, disinterestedness, contemplation as performative inactivity. Disinterested attention (a definition formulated by Bence Nanay) and free-floating attention help to better understand the apparently seamless and unproblematic transition from passive spectator to active participant/agent of contemporary art. If considering attention in relation to executive functions (planning and organizing our experience in the world we live (...) in) could be persuasive, a self-evident definition of attention strictly considered as “selection for action” is less convincing, and the weakness of this connection becomes clear when goal-oriented attitude is pushed into the background. Attention is often researched into to improve our performances and to overcome the inevitable “blind spots”: experiencing art is about a different way of paying attention, that is fluctuating, “suspended,” fragmented. (shrink)

The aim of the present research was to test whether involvement in a 14-days training program in the performing arts could reduce implicit biases. We asked healthy participants to complete an Implicit Association Test to assess biased attitudes to physical illness in two separate sessions, before and after the training program. Two separate control groups matched by age, gender and educational level completed the two IAT sessions, separated by same number of days, without being involved in the training (...) program. Results showed that participants who were involved in the training program reduced their implicit bias toward illness measured through IAT in the second session. This reduction in IAT measures was not observed in the control samples, despite the two IAT measures being matched in temporal delay with the experimental group. These findings suggest that an interventional program based on the performing arts could be effective in reducing levels of implicit biases among the general population. (shrink)

The purpose of this paper is to examine the effect of corporate governance practices of small cap companies have had on their financial performances. Previous studies have mainly examined governance practices of larger corporations. This analysis focuses on the governance variables that have been highlighted by the New Zealand Securities Commission governance principles and guidelines and also on the governance variables that are supported in the literature as providing an appropriate structure for the firm in the environment in which it (...) operates. The data for 71 small cap companies listed in New Zealand over a five-year period from 2001 to 2005 was analysed. Pooled data, OLS and 2SLS regression techniques were used and Tobin's Q, ROA and OPINC were used as the dependent variables. The evidence does support the hypothesis that the existence of board independence and audit committee has enhanced firm financial performance, as measured by Tobin's Q. (shrink)

This essay explores the role of music composition within the curriculum of a typical small liberal arts college and the faculty composer's role(s) in facilitating the study of composition. The relationship between composition and campus performance is discussed, particularly in light of the increased emphasis on performance in formerly all-male colleges (Amherst, Williams, Bowdoin, Dartmouth, and so on) after the advent of coeducation in the 1970s. Other topics include teaching strategies for introducing non-major students to composition, the rise of (...) interest in non-Western music (with resulting influence on student composers), and the utilization of visiting performers/composers. (shrink)

Prior research suggests that Corporate Environmental Performance enables businesses to build strong corporate image and reputation, thus leading to improved firm financial performance. However, studies relating to the relationship between CEP and firm risk are scarce. This research intends to bridge the gap in the literature by examining whether CEP helps firms to reduce their financial risk. Results of the Ordinary Least Squares regression with fixed effects provide strong evidence that environmental performance is negatively associated with firm volatility and firm (...) downside risk. The results are robust after controlling for moderating effects such as financial, institutional and environmental management. (shrink)

In Āryadevapāda’s Skhalitapramathanayuktihetusiddhi we find a problematic passage in which some Cārvāka theories are expounded. The problem here lies in the fact that, according to Āryadevapāda, the Cārvākas—who did not admit rebirth—would have upheld that happiness in this life can be gained by worshipping gods and defeating demons. As the Cārvākas were materialists, the reference to gods and demons does not fit so much with their philosophical perspective. In this paper, by taking into account several passages from Pāli and Sanskrit (...) Buddhist sources, I have tried to demonstrate that Āryadevapāda is here probably following the Laṅkāvatārasūtra, where mention is made of some Lokāyatikas who are said to have been able to infatuate gods and demons. In both the Pāli Canon and the Mahāyāna sūtras, however, the term lokāyata does not refer to “materialism”. It rather conveys the meaning of “art of disputation”, and is generally used in the description of brāhmaṇas well versed in the Vedas, in the recitation of mantras and in dialectic methods in general. It is the Laṅkāvatārasūtra that introduces the idea—corroborated also by a passage from the Mahābhārata—that these brāhmaṇas, skilled in lokāyata, would have indulged in some materialistic tenet. When the two terms, Cārvāka and Lokāyata, came both to mean “materialism”, around the IV century CE, it is highly probable that non-Cārvāka thinkers and commentators—as could be the case of Āryadevapāda—had in some occasion assimilated and integrated certain points of view, originally belonging to the ancient lokāyata perspective (for instance, the references to gods and demons), into what they believed Cārvāka philosophy had to be. (shrink)

This original study offers a timely reconsideration of the work of French philosopher Jean-François Lyotard in relation to art, performance and writing. How can we write about art, whilst acknowledging the transformation that inevitably accompanies translations of both media and temporality? That is the question that persistently dogs Lyotard's own writings on art, and to which this book responds through reference to artists from the recently-formed canon of performance art history, including the myths of seminal figures Marina Abramovic and Vito (...) Acconci, and the controlled documentation of Gina Pane's actions. Through the unstable, untranslatable element that Lyotard calls the figural, his thought is brought to bear on attempts to write a history of performance art and to question the paradoxically prescriptive demand for rules to govern 're-performance'. Kiff Bamford contextualises Lyotard's writings and approach with reference to both his contemporaries, including Deleuze and Kristeva, and the contemporary art about which they wrote, whilst arguing for the pertinence of Lyotard's provocations today. (shrink)

The contribution attests a research project coordinated by the Department of Human Sciences for Education “Riccardo Massa” and led in Mantova and Sabbioneta UNESCO sites. The project aims at accompanying citizens and visitors along a participative, sensorial and emotional path towards the cultural heritage’s enhancement and interpretation. Inspired by the desire to promote experiences helpful for an encounter between human beings and the environment, the body and the mind, the scientific and poetic dimension, we wanted to investigate and further explore (...) the possibility to plan and start exploratory itineraries and artistic-expressive-performing actions both for daily and one-day passers-by. These are meant to feel, to live and inhabit these places not only through a rational and intellectual awareness but, more importantly, through a bodily and emotional one. (shrink)

The vision of an art masterpiece is associated with brain arousal by neural processes occurring quite spontaneously in the viewer. This aesthetic experience may even elicit a response in the motor areas of the observers. In the neurorehabilitation of patients with stroke, art observation has been used for reducing psychological disorders, and creative art therapy for enhancing physical functions and cognitive abilities. Here, we developed a virtual reality task which allows patients, by moving their hand on a virtual canvas, to (...) have the illusion of painting some art masterpieces, such as The Creation of Adam of Michelangelo or The birth of Venus of Botticelli. Twenty healthy subjects and four patients with stroke performed this task and a control one in which they simply colored the virtual canvas. Results from User Satisfaction Evaluation Questionnaire and the NASA Task Load Index highlighted an appropriate level of usability. Moreover, despite the motor task was the same for art and control stimuli, the art condition was performed by healthy subjects with shorter trajectories and with a lower perception of physical demand. In experiment 2, only the patients treated with artistic stimuli showed a reduction in the erroneous movements performed orthogonally to the canvas. This finding reminds the so-called Mozart effect that improves the performance of subjects when they listen to classic music. Thus, we called this improvement in the performance when interacting with an artistic stimulus as Michelangelo effect. (shrink)

The primary question this article deals with is one of ontology. In a dystopian world populated with genetically engineered windups and hybrids, what constitutes ‘the human’? This article looks at how the posthuman body in a dystopian novel like The Windup Girl, set in a world where geographical, political, social, economic and religious norms and boundaries are erased and reconfigured, can in no way simply remain a mere body, but transmutes into a highly complex political and social site from whence (...) multiple relations of power originate, travel and culminate in. The titular character in the novel, Emiko, is a genetically engineered windup created in a laboratory, with obedience and the need to please etched right into her DNA. This makes her a prized possession for a brothel owner in Bangkok, once her Japanese master abandons her. She is both desirable and revolting to her customers at the same time – her perfect body is too perfect, her genetic urge to please at any cost draws them in, but her involuntary shaking and robot-like jerking disgusts them. The windup can thus be seen as both the Lacanian object cause of desire and Kristeva’s abject body. (shrink)

When I was eleven, my form teacher, Mr Howard, showed some of my class how to punch. We were waiting for the rest of the class to finish changing after gym, and he took a stance that I would now call shizentai yoi and snapped his right fist forward into a head-level straight punch, pulling his left back to his side at the same time. Then he punched with his left, pulling back on his right. We all lined up in (...) our ties and sensible shoes (this was England) and copied him—left, right, left, right—and afterwards he told us that if we practised in the air with sufficient devotion for three years, then we would be able to use our punches to kill a bull with one blow. I worshipped Mr Howard (though I would sooner have died than told him that) and so, as a skinny, eleven-year-old girl, I came to believe that if I practised, I would be able to kill a bull with one blow by the time I was fourteen. This essay is about epistemic viciousness in the martial arts, and this story is illustrates just that. Though the word ‘viciousness’ normally suggests deliberate cruelty and violence, I will be using it here with the more old-fashioned meaning, possessing of vices. Vices (such as avarice, alcoholism and nail-biting) are common, and most of us struggle with a few, but ‘epistemic’ means ‘having to do with knowledge and the justification of belief’ and so epistemic viciousness is the possession of vices that make one bad at acquiring true beliefs, or give one a tendency to form false ones. My eleven-year-old self possessed the epistemic vice of gullibility and hence showed a streak of epistemic viciousness, which led to the formation of a false belief. Other kinds of epistemic vice can lead to us failing to form true beliefs when we ought to. Consider the internet-surfing karate-sensei who stumbles upon an article claiming that chocolate milk is better than water or sports drinks for promoting recovery after strenuous exercise, and describing an experiment using stationary bikes performed at the University of Indiana, purporting to support this claim.. (shrink)

Hidden in the cave : the Upaniṣadic self -- Dangerous truths : the Buddha on silence, secrecy and snakes -- A cloak of clever words : the deconstruction of deceit in the Mahābhārata -- Words that burn : why did the Buddha say what he did? -- Words that break : can an Upaniṣad state the truth? -- The imperfect reality of persons -- Self as performance.

This response to Richard Shusterman's Philosophy and the Art of Writing focuses on his concern that philosophy is, first and foremost, a way of life, illustrated in the West by the Socratic ideal of the philosopher and in the East by the example of the scholar-artist-gentleman. This paper examines the process of Buddhist meditation and the process of creating novels, supplementing the authors Shusterman carefully examines with examples from Black American literature, the author's own teacher John Gardner, and artistic colleagues (...) the author has known. The basic thrust of the response is that the skillful means used in writing can indeed be a form of self-creation, but it can also be a means of liberation from the self. (shrink)

In this paper I distinguish between illustrative and performative uses of artworks in the teaching and communication of philosophy, drawing examples from the history of art and my own practice. The former are where works are used merely to illustrate and communicate a philosophical idea or argument, the latter are where the artist or teacher philosophizes through the creation of art. I hope to promote future collaboration between philosophers, art historians and artists, with artworks becoming catalysts for artistic-philosophical investigation, thus (...) revitalizing the idea of universities embodying ongoing and open-ended conversations. (shrink)

In recent years, I have developed an endurance running art-practice as part of a larger inquiry into the performative nature of human physical activity. In the Absence of Running is series of artworks made using images from medical arthroscopic interventions following the diagnosis of medial meniscus tears to the cartilage and osteoarthritis in both my knees. Faced with not being able to run or to make artworks using running in the long-term, I turned to the tools of medical intervention. If (...) a camera was going inside my knee for the purpose of surgery, I would use it for the purpose of art. The resulting videos and photographs led to a contemplation on the image and viewing practices not previously anticipated, not least on the now endemic uses of advanced imaging technologies as integral parts of surgical operations. Their reassembly as a stop-frame animation and artist’s book in physical and electronic form enabled a process of slowing down and re-engagement with the image and physicality of the book itself and processes and with practices of viewing. This was important in reasserting the sense of human agency in our relationship to images in a world where this appears to be increasingly absent. (shrink)

To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical skills with conceptual understanding, improvisation is adaptive and collaborative. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research in (...) the cognitive sciences, phenomenology, neuroscience, and philosophy, using examples from modern dance and jazz music. The account may be used for generating cross-disciplinary hypotheses about improvisation for investigation within a multitude of fields and is meant to encourage interdisciplinary work and collaboration between practitioners and academic researchers. The major goal is to elucidate the interaction dynamics that underlies joint improvisation by considering the variety of processes that support sensorimotor, experiential, emotional, meta-cognitive, and collaborative forms of interaction and lead to the coordination and synchronization of behavior. I claim that improvisation is an intelligent cognitive skill associated with meta-awareness, open to monitoring and control. It involves both automatized and flexible behavior and can occur without conscious awareness. Improvising in principle is independent of verbal language and higher-order thought, but nevertheless profits from the presence of multiple converging processes. (shrink)

To think of the sea as a page is to consider its liquid surface as a site of writing. The current article explores fluid and performative aspects of the sea in contemporary art practices, which incorporate performance art, poetry and creative media. Based on a critical reflection on coastline and sea-oriented performances of the author and drawing on key ideas that consider the sea as a dynamic milieu of embodied knowledge and expanded creativity beyond western terrestrial bias, the article explores (...) the author’s reconsideration of geopoetics through mediated, performative and fluid practices towards watery poetics in blue humanities. It reflects on the ways parallel processes of writing, floating, drifting and transmitting shift the meaning and articulation of a poem from the page to the sea towards an expanded poetic situation with coordinates. (shrink)

The article is devoted to postmodernism musical performance. There was realized a comprehensive retrospective analysis of the phenomenon development from ancient period to nowadays. It was proved that in ancient times interpretation was explained as a form of mythological worldview embodiment; in the Middle Ages as a way of uniting man and God; in Rrenaissance as a means of harmonizing material and spiritual components of personality; in Baroque as a method of theatricality of person's existence; in Classicism as an opportunity (...) to assert the power of human mind; Romanticism emphasized emotionality and subjectivity of concerting, the unique role of master; Modernism declared freedom of interpretation. Understanding the essence of musical performance with each historical stage became deeper, was enriched with new terminological, depth of scientific and theoretical understanding. The musical performance of postmodernism as a unique phenomenon has its own chronology of formation and development, based on achievements of previous epochs, transformed in accordance to philosophical aesthetics of the late XX century. Its outstanding constitutive qualities are: anthropology, religiosity, spirituality, meditation, improvisation, humanism, dialogicity, theatricality, rationalism, intellectualism, emotionality, playing, intertextuality, polystylistics etc. The performing art of postmodernism embodies the conceptual principles of its time: pluralism, irony, collage, synthesis, the death of the author, so on. It unites, eclectically mixes different artistic traditions and views, it forms a unique interpretive vision of musical text, demonstrates openness to dialogue with different historical epochs and civilizations, aimed at both the elite and the mass audience. (shrink)

In the performing arts, such as music and dance performances, people actively interact with each other and show their exciting performances. Some studies have proposed that this interaction is a social origin of the performing arts. Some have further investigated this phenomenon based on the synchronization and coordination theory. Though the majority of these studies have focused on the collaborative context, several genres of the performing arts, such as jazz sessions and breakdance battles, have (...) a competitive context. Several studies have suggested that, in this competitive context, performers actively interact with each other and construct some correspondence. Moreover, a few recent studies focusing on competitive conversations, such as debates, have shown that, compared to people's interactions in collaborative conversations, people in competitive contexts frequently coordinate their behaviors in complicated ways. However, the interaction and coordination among performers in these competitive contexts have not been sufficiently investigated. Therefore, we investigated the coordination of expert breakdancers in battle scenes and measured their rhythmic movements using a motion capture system. We calculated the relative phase of the rhythmic movements between two dancers to investigate their coordination. The results showed that the dancers' rhythmic movements tended to synchronize in an anti-phase fashion, which means that there were similarities as well as differences between the two dancers' rhythmic movements. Furthermore, this pattern of coordination changed dynamically as time elapsed, from an in-phase synchronization or leader-follower relationships to an anti-phase synchronization and then leader-follower relationships. (shrink)

The authors of the article consider one of the directions of musical pedagogy - the use of art pedagogy in the process of training a musician-performer. Based on the analysis of the research literature and experience describes the possibility of using psychological reserves of music and performing activities, in particular, reception of musical color modeling of the emotional and figurative content of music, are revealed.

This chapter contains section titled: Introduction A Little Ontology A Little More Ontology Early Experiences of Literature Reading to Yourself Not Moving Your Lips Other People's Mail A Theory of Language Productions in the Mind The Effect of Words A Musical Interlude Telling Stories Predecessors The Ion Within The Eloquence of Silence Radio Plays Silent Interpretation The Critic's Role Readings as Art The Transparency of the Reading Performance Read it again, Sam Silent Soundings and Silent Performances The Other Ion Literature (...) and Truth The Banality of Literary Truth Gaps and the Afterlife Another Take on the Gaps Doubts Semantic Quibbles Unuttered Conversation And for those without Voices Sight and Sound Parsimony More Parsimony? Reading as Act. (shrink)