Barbara Gail Montero

According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed

I have a painfully vivid memory of performing the Venezuelan choreographer Vincente Nebrada’s ballet Pentimento.After graduating from high school at age 15 and before entering college, I spent a number of years working as a professional ballet dancer with North Carolina Dance Theatre , among other companies. I was a new member of North Carolina Dance Theatre, and although the company had presented the piece on a number of occasions, this was the first time the director was watching from the audience rather than the wings. In the middle of a pas de deux, I choked big time and blanked out on the choreography; try as I may, I could not remember a single step. My partner, who had been with the company for years, knew what was going on and manipulated my limbs until something clicked and I was able to find the choreography again. Following the performance, when we gathered onstage for notes, the director was so appalled that the only comme ..

Might the world be structured, as Leibniz thought, so that every part of matter is divided ad infinitum? The Physicist David Bohm accepted infinitely decomposable matter, and even Steven Weinberg, a staunch supporter of the idea that science is converging on a final theory, admits the possibility of an endless chain of ever more fundamental theories. However, if there is no fundamental level, physicalism, thought of as the view that everything is determined by fundamental phenomena and that all fundamental phenomena are physical, turns out false, for in such a world, there are no fundamental phenomena, and so fundamental phenomena determine nothing. While some take physicalism necessarily to posit a fundamental level, here I present a thesis of physicalism that allows for its truth even in an infinitely decomposable world.

What is it for a bodily movement to be effortless? What are we appreciating when we admire a dancer’s effortless leaps, a basketball player’s effortless shot, or even a seagull’s effortless soar? I propose to explore the notion of effortlessness by distinguishing various kinds of effortless bodily movements, examining the idea that effortless movements are smooth, predictable ones, discussing the relations between effortlessness and difficulty and effortlessness and actual ease, and speculating briefly about how we perceive and why we take pleasure in watching effortless movements.

I am going to argue that it is time to come to terms with the difficulty of understanding what it means to be physical and start thinking about the mind-body problem from a new perspective. Instead of construing it as the problem of finding a place for mentality in a fundamentally physical world, we should think of it as the problem of finding a place for mentality in a fundamentally nonmental world, a world that is at its most fundamental level entirely nonmental. The mind-body problem, I want to argue, is the problem of determining whether mentality can be accounted for in terms of nonmental phenomena. In other words, it is the question, ‘is mentality a fundamental feature of the world’

Might the world be structured, as Leibniz thought, so that every part of matter is divided ad infinitum? The Physicist David Bohm accepted infinitely decomposable matter, and even Steven Weinberg, a staunch supporter of the idea that science is converging on a final theory, admits the possibility of an endless chain of ever more fundamental theories. However, if there is no fundamental level, physicalism, thought of as the view that everything is determined by fundamental phenomena and that all fundamental phenomena are physical, turns out false, for in such a world, there are no fundamental phenoma, and so fundamental phenomena determine nothing. While some take physicalism necessarily to posit a fundamental level, here I present a thesis of physicalism that allows for its truth even in an infinitely decomposable world.

Proprioception has been considered, within neuroscience, in the context of the control of movement. Here we discuss a possible second role for this 'sixth sense', pleasure in and of movement,homologous with the recently described affective touch. We speculate on its evolution and place in human society and suggest that pleasure in movement may depend not on feedback but also on harmony between intention and action. Examples come from expert movers, dancers and sportsmen, and from those without proprioception due to neurological impairment. Finally we suggest that affective proprioception may help bind our sense of agency with our embodied selves at an emotional level.

The conservation of energy law, a law of physics that states that the total energy of any closed system is always conserved, is a bedrock principle that has achieved both broad theoretical and experimental support. Yet if interactive dualism is correct, it is thought that the mind can affect physical objects in violation of the conservation of energy. Thus, some claim, the conservation of energy grounds an argument for physicalism. Although critics of the argument focus on the implausibility of causation requiring the transference of energy, I argue that even if causation requires the transference of energy, once we accept the other required premises of the argument that lie behind any supposed argument from the conservation of energy the law of the conservation of energy is revealed as irrelevant to the question of whether the mental is physical

Proprioception - the sense by which we come to know the positions and movements of our bodies - is thought to be necessarily confined to the body of the perceiver. That is, it is thought that while proprioception can inform you as to whether your left knee is bent or straight, it cannot inform you as to whether someone else's knee is bent or straight. But while proprioception certainly provides us with information about the positions and movements of our own bodies, I will argue that it does more than that. Surprising as this may sound, one can proprioceive someone else's movement. To show this, I first present the results of some studies that suggest that in seeing others move, we kinesthetically represent their movement in our bodies. I then argue, by means of an analogy to prosthetic vision, that such 'kinesthetic vision' should count as proprioceiving others move

Mary knows all there is to know about physics, chemistry and neurophysiology, yet has never experienced colour. Most philosophers think that if Mary learns something genuinely new upon seeing colour for the first time, then physicalism is false. I argue, however, that physicalism is consistent with Mary's acquisition of new information. Indeed, even if she has perfect powers of deduction, and higher-level physical facts are a priori deducible from lower-level ones, Mary may still lack concepts which are required in order to deduce from the lower-level physical facts what it is like to see red

It is widely thought that focusing on highly skilled movements while performing them hinders their execution. Once you have developed the ability to tee off in golf, play an arpeggio on the piano, or perform a pirouette in ballet, attention to what your body is doing is thought to lead to inaccuracies, blunders, and sometimes even utter paralysis. Here I re-examine this view and argue that it lacks support when taken as a general thesis. Although bodily awareness may often interfere with well-developed rote skills, like climbing stairs, I suggest that it is typically not detrimental to the skills of expert athletes, performing artists, and other individuals who endeavor to achieve excellence. Along the way, I present a critical analysis of some philosophical theories and behavioral studies on the relationship between attention and bodily movement, an explanation of why attention may be beneficial at the highest level of performance and an error theory that explains why many have thought the contrary. Though tentative, I present my view as a challenge to the widespread starting assumption in research on highly skilled movement that at the pinnacle of skill attention to one's movement is detrimental

A number of philosophers think that, while we cannot explain how the mind is physical, we can know that it is physical, nonetheless. That is, they accept both the explanatory gap between the mental and the physical and ontological physicalism. I argue that this position is unstable. Among other things, I argue that once one accepts the explanatory gap, the main argument for ontological physicalism, the argument from causation, looses its force. For if one takes physicaVnonphysical causation and ontological physicalism to be equally mysterious, as physicalists who accept the explanatory gap are inclined to do, there is little justification for accepting ontological physicalism rather than rejecting the causal closure of the physical.