Dee Reynolds
Biographic Data
| ID | 3597664 |
|---|---|
| NAME | Dee Reynolds |
| GIVEN NAMES | Dee |
| FAMILY NAME | Reynolds |
| SIGNATURE | REYNOLDS D |
| AFFILIATIONS | University of Manchester |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 25 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 3 |
Music, rowing, and the aesthetics of rhythm
Having “good rhythm” is essential in both music and competitive rowing, but what exactly constitutes “good rhythm,” and how do we achieve it? Although rhythm is often discussed in purely auditory terms, I argue that rhythm is fundamentally a multisensory, kinesthetic phenomenon. By drawing parallels between music and rowing, I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how the cognition …
Musical events and perceptual ecologies
This paper, followed by two responses, discusses the application of ecological theory to an understanding of a number of issues in the aesthetics of music. It argues for an understanding of music as based in event perception, with an expanded conception of the sources that are specified by those events. Building on the theory of affordances, it considers the limitations of an information theoretic conception of musical complexity, discusses the i…
Introduction: Methods of Aesthetic Enquiry Across Disciplines
This Special Issue of The Senses and Society gathers together texts that arise out of several years of dialogues organized through the Network, “Evaluating Methods of Aesthetic Enquiry across Disci
‘Glitz and Glamour’ or Atomic Rearrangement: What do Dance Audiences Want
While popular dance shows on stage and screen frequently attract audiences seeking the ‘glitz and glamour’ of spectacle and celebrity, much contemporary, experimental work holds more appeal for spectators in search of challenge and even disorientation. However, a significant element of viewing pleasure which cuts across these distinctions is the spectator's feeling of involvement with the dancer and/or the kinesthetics of the choreography. Indeed…
Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance
Dance is frequently described as being “about” movement. “Dance,” writes Ann Daly, “although it has a visual component, is fundamentally a kinesthetic art” (Daly 1992, 243). Audience experiences of dance can therefore be conceptualized in terms of responses to movement, most prominently in terms of what has been described as “kinesthetic empathy.” What does it mean, however, to watch, respond to, or appreciate movement? And how does the historica…
Response to ‘Skin and the Self: Cultural Theory and Anglo-American Psychoanalysis
Roger Copeland, Merce Cunningham, the Modernizing of Modern Dance
Kenneth King, Writing in Motion, Body – Language – Technology
A Technique for Power: Reconfiguring Economies of Energy in Martha Graham's Early Work
In the mid- to late-1920s, Martha Graham began to elaborate techniques which would have a long-term impact on the evolution of modern dance. She developed new ways of using energy in movement, which liberated her dancers (exclusively female until 1938) from the constraints on corporeal expression she associated with 'the puritanical concept of life' (Graham 1980, 46). Graham's techniques were focussed on empowerment, and can be described metaphor…
Displacing ‘Humans’: Merce Cunningham’s Crowds
Changing steps: New directions in French dance
Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance
Dance is frequently described as being “about” movement. “Dance,” writes Ann Daly, “although it has a visual component, is fundamentally a kinesthetic art” (Daly 1992, 243). Audience experiences of dance can therefore be conceptualized in terms of responses to movement, most prominently in terms of what has been described as “kinesthetic empathy.” What does it mean, however, to watch, respond to, or appreciate movement? And how does the historica…
Music, rowing, and the aesthetics of rhythm
Having “good rhythm” is essential in both music and competitive rowing, but what exactly constitutes “good rhythm,” and how do we achieve it? Although rhythm is often discussed in purely auditory terms, I argue that rhythm is fundamentally a multisensory, kinesthetic phenomenon. By drawing parallels between music and rowing, I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how the cognition …
Response to ‘Skin and the Self: Cultural Theory and Anglo-American Psychoanalysis
Musical events and perceptual ecologies
This paper, followed by two responses, discusses the application of ecological theory to an understanding of a number of issues in the aesthetics of music. It argues for an understanding of music as based in event perception, with an expanded conception of the sources that are specified by those events. Building on the theory of affordances, it considers the limitations of an information theoretic conception of musical complexity, discusses the i…
Introduction: Methods of Aesthetic Enquiry Across Disciplines
This Special Issue of The Senses and Society gathers together texts that arise out of several years of dialogues organized through the Network, “Evaluating Methods of Aesthetic Enquiry across Disci
Changing steps: New directions in French dance
Displacing ‘Humans’: Merce Cunningham’s Crowds
A Technique for Power: Reconfiguring Economies of Energy in Martha Graham's Early Work
In the mid- to late-1920s, Martha Graham began to elaborate techniques which would have a long-term impact on the evolution of modern dance. She developed new ways of using energy in movement, which liberated her dancers (exclusively female until 1938) from the constraints on corporeal expression she associated with 'the puritanical concept of life' (Graham 1980, 46). Graham's techniques were focussed on empowerment, and can be described metaphor…
Kenneth King, Writing in Motion, Body – Language – Technology
Roger Copeland, Merce Cunningham, the Modernizing of Modern Dance
Response to ‘Skin and the Self: Cultural Theory and Anglo-American Psychoanalysis
‘Glitz and Glamour’ or Atomic Rearrangement: What do Dance Audiences Want
While popular dance shows on stage and screen frequently attract audiences seeking the ‘glitz and glamour’ of spectacle and celebrity, much contemporary, experimental work holds more appeal for spectators in search of challenge and even disorientation. However, a significant element of viewing pleasure which cuts across these distinctions is the spectator's feeling of involvement with the dancer and/or the kinesthetics of the choreography. Indeed…
Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance
Dance is frequently described as being “about” movement. “Dance,” writes Ann Daly, “although it has a visual component, is fundamentally a kinesthetic art” (Daly 1992, 243). Audience experiences of dance can therefore be conceptualized in terms of responses to movement, most prominently in terms of what has been described as “kinesthetic empathy.” What does it mean, however, to watch, respond to, or appreciate movement? And how does the historica…
Musical events and perceptual ecologies
This paper, followed by two responses, discusses the application of ecological theory to an understanding of a number of issues in the aesthetics of music. It argues for an understanding of music as based in event perception, with an expanded conception of the sources that are specified by those events. Building on the theory of affordances, it considers the limitations of an information theoretic conception of musical complexity, discusses the i…
Introduction: Methods of Aesthetic Enquiry Across Disciplines
This Special Issue of The Senses and Society gathers together texts that arise out of several years of dialogues organized through the Network, “Evaluating Methods of Aesthetic Enquiry across Disci
Music, rowing, and the aesthetics of rhythm
Having “good rhythm” is essential in both music and competitive rowing, but what exactly constitutes “good rhythm,” and how do we achieve it? Although rhythm is often discussed in purely auditory terms, I argue that rhythm is fundamentally a multisensory, kinesthetic phenomenon. By drawing parallels between music and rowing, I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how the cognition …
Art (10 works) · Visual arts (6 works) · Aesthetics (5 works) · Diversity and Impact of Dance (5 works) · Psychology (5 works) · Computer Science (4 works) · Dance (4 works) · Art history (3 works) · Social Psychology (3 works) · Action Observation and Synchronization (2 works)