Abstract
Katan puts forward the perceptual process in the movement research of Gaga as continuous and differentiates it from other movements and physical perceptions in everyday life. The chapter analyzes the movement research as its own purpose, and parallels it with hermeneutical-philosophical inquiry. Katan explores the activity of instructions in Gaga, demonstrating the understanding of physical dynamics before they occur. The case study draws attention to the integration of images and imagination within perceptual processes of dancing.
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Notes
- 1.
Valery. In: Copeland and Cohen (ed.) (1983), pp. 61–2: “In our practical world our being is nothing more than an intermediary between the sensation of a need and the impulse to satisfy the need. In this role, it proceeds always by the most economical, if not always the shortest, path: it wants results. Its guiding principles seem to be the straight line, the least action, and the shortest time. A practical man is a man who has an instinct for such economy of time and effort, and has little difficulty in putting it into effect, because his aim is definite and clearly localized: an external object.”
- 2.
See: Aristotle, NE (2009), p. 105: “As Agathon says, ‘art loves chance and chance loves art’.”
- 3.
Immanuel Kant, Critique of the Power of Judgment (1790). Paul Guyer, Allen W. Wood (ed.), New York: Cambridge university Press, 2010, p. 120 (§17).
- 4.
Heidegger, (1927; 1996), p. 128: “Da-sein is already brought before itself, it has already found itself, not as perceiving oneself to be there, but as one finds one’s self in attunement.”
- 5.
Ibid, p. 134.
- 6.
Ibid, p. 135: “Understanding is the existential being of the ownmost potentiality of being of Da-sein in such a way that this being discloses in itself what its very being is about.”
- 7.
Ibid, p. 128.
- 8.
Kant (1790; 2010), p. 120 (§17).
- 9.
Gadamer, (1975; 2004), p. 38.: “In the realm of aesthetic taste models and patterns certainly have a privileged function; but, as Kant rightly says, they are not for imitation but for following. The model and example encourage taste to go on its own way, but they do not do taste’s job for it. For taste must be one’s very own.”
- 10.
One of the definitions of knowledge in aesthetics, according to Benedetto Croce, is that art has to be personally experienced in order to be known. Knowledge in aesthetics cannot be abstractly learned, as in scientific measurement. See: Benedetto Croce, The Essence of Esthetic, Douglas Ainslie (trans.), London: William Heinemann, 1921, p. 70: “No man remains stationary in knowledge, not even sceptics or pessimists who, in consequence of that knowledge, assume this or that attitude, adopt this or that form of life. And that very fixing of acquired knowledge, that ‘retaining’ after ‘understanding,’ without which (still quoting Dante) ‘there can be no science,’ the formation of types and laws and criteria of measurement, the natural sciences and mathematics, to which I have just referred, were a surpassing of the act of theory by proceeding to the act of action. And not only does everyone know from experience, and can always verify by comparison with facts, that this is indeed so; but on consideration, it is evident that things could not proceed otherwise.”
- 11.
Aristotle NE (2009), p. 107.
- 12.
Or “handiness.” See: Heidegger (1927; 1996), pp. 71–76.
- 13.
Valery, in: Copeland and Cohen (ed.) (1983), pp. 60–62.
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Katan, E. (2016). Extending Perception. In: Embodied Philosophy in Dance. Performance Philosophy. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-60186-5_7
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DOI: https://doi.org/10.1057/978-1-137-60186-5_7
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