Aili Bresnahan
Datos Biográficos
| ID | 1084331 |
|---|---|
| NOMBRE | Aili Bresnahan |
| NOMBRES | Aili |
| APELLIDO | Bresnahan |
| FIRMA | BRESNAHAN A |
| AFILIACIONES | University of Dayton |
| VERIFICADO | No |
| TOTAL DE OBRAS | 4 |
| TOTAL DE CITAS | 8 |
| TOTAL COMO AUTOR | 4 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2014 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2018 |
| ÍNDICE H | 2 |
Gary Peters, Improvising Improvisation
Immediately upon opening this book, the reader confronts Peters’ disquieting claim that this is not a philosophical text on improvisation but instead is an improvisation. “[E]verything that follows,” he explains, “regardless of its appearance, is completely improvised, written each and every day from scratch. Not from one chapter to the next (if only), not from one section to the next (I wish), but from one sentence, sometimes one word to the nex…
Body Aesthetics
This unique and sprawling collection of sixteen essays explores a wide range of perspectives on the human body and how it is embodied, lived, viewed, perceived, and constructed by ourselves and by others in both positive and harmful ways. The book’s contributors include philosophers, sociologists, anthropologists, and artists, as well as scholars who focus on law, culture, and on Africana, race, gender, sexuality, and disability studies. In addit…
Improvisation in the Arts
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 termimprovisation, 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 w…
Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency
This article 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 …
Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency
This article 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 …
Improvisation in the Arts
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 termimprovisation, 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 w…
Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency
This article 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 …
Improvisation in the Arts
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 termimprovisation, 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 w…
Body Aesthetics
This unique and sprawling collection of sixteen essays explores a wide range of perspectives on the human body and how it is embodied, lived, viewed, perceived, and constructed by ourselves and by others in both positive and harmful ways. The book’s contributors include philosophers, sociologists, anthropologists, and artists, as well as scholars who focus on law, culture, and on Africana, race, gender, sexuality, and disability studies. In addit…
Gary Peters, Improvising Improvisation
Immediately upon opening this book, the reader confronts Peters’ disquieting claim that this is not a philosophical text on improvisation but instead is an improvisation. “[E]verything that follows,” he explains, “regardless of its appearance, is completely improvised, written each and every day from scratch. Not from one chapter to the next (if only), not from one section to the next (I wish), but from one sentence, sometimes one word to the nex…
Aesthetics (4 obras) · Art (4 obras) · Psychology (4 obras) · Improvisation (3 obras) · Sociology (3 obras) · Visual arts (3 obras) · Choreography (2 obras) · Concert dance (2 obras) · Dance (2 obras) · Dance improvisation (2 obras)