Philosophy of the Performing Arts
performance ii: audience and embodiment 193 through her performance, where this involves an interest in her achievement in so do ...
194 performance as art without visually observing its own face.^15 Mirror neurons, it is claimed, are involved in certain kinds ...
performance ii: audience and embodiment 195 Proprioception operates by means of receptors situated throughout the body – in the ...
196 performance as art with access to objects distant from us, namely vision and audition.^16 Hegel (1975), for example, claimed ...
performance ii: audience and embodiment 197 arm and facial movements, especially for the neonate. But many of the most significa ...
198 performance as art of visual stimulation. He cites, however, an e-mail correspondence with Gallese where the latter grants t ...
performance ii: audience and embodiment 199 This idea is spelled out more clearly in Woodruff 1988. See especially 250–253. For ...
1 Introduction In Chapter 1, I began by distinguishing a performance from a mere action. In the case of a performance, the agent ...
performance art and the performing arts 201 7 that at least some work-performances are themselves performance-works. I also look ...
202 performance as art This description captures what is prescribed to performers of La Monte Young’s Composition 1960 #7. We mi ...
performance art and the performing arts 203 (5) “Activity, 23 days, varying durations. New York City. Choosing a person at rando ...
204 performance as art The examples thus far have taken the form of performable works, whether or not these works have, or can h ...
performance art and the performing arts 205 of performances, or (2) providing a description of an individual perform- ance. In t ...
206 performance as art an imaginary map on a real street. Are these simply unperformed (or unper- formable) performable works, a ...
performance art and the performing arts 207 who visited the exhibit.^6 If this is a work of performance art, and not an amateuri ...
208 performance as art were performed privately partly because one of the issues that Acconci was exploring in these works was t ...
performance art and the performing arts 209 visual or verbal records or documentations of the performances. Carroll, like Goldbe ...
210 performance as art artistic performances in our first sense. The actions of the performers are the artistic vehicle of a per ...
performance art and the performing arts 211 least three possible answers to these questions are suggested by LeWitt’s various ob ...
212 performance as art vehicle, and, consequently, puzzlement as to what the work is about – what artistic statement is articula ...
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