Titlebook: Embodied Philosophy in Dance; Gaga and Ohad Nahari Einav Katan Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 dance philoso

預(yù)測

“Connect Effort into Pleasure!”d suggests seeing mental directives in Gaga in the phenomenological light of “directing a mood” and “epoche.” Exploring the practical implication of the instruction on the experience of dancers, Katan sets up the plan of inquiries for the following chapters.

羊齒

The Challenge of a Perceptual Gap between Body and Mindn extends the analysis, exploring the physical implications of holding a mental image concerning the ideal movement. The chapter propounds a psychological comprehension of physical tension, analyzing the case of leading two contradicting images as a mental effort that excludes physical knowledge.

OWL

Comprehending Emotions and Directing a Moodsources concerning the quality of attunement between intentionality and sensory information. Focusing on the case study of mental instructions in Gaga, the chapter indicates that feelings assist dancers adjusting their intentionality according to the work’s purpose.

救護(hù)車

Book 2016 mind, hermeneutics, pragmatism, and social theories in order to illuminate the perceptual experience of dancing. It also reveals the interconnections between physical and mental processes of reasoning and explores the nature of physical intelligence.

moratorium

Book 2016movement research practiced by dancers of the Batsheva Dance Company. Considering the body as a means of expression, .Embodied Philosophy in Dance. deciphers forms of meaning in dance as a medium for perception and realization within the body. In doing so, the book addresses embodied philosophies of

etiquette

2947-5589 concepts of one of contemporary dance‘s most original movemRepresenting the first comprehensive analysis of Gaga and Ohad Naharin‘s aesthetic approach, this book follows the sensual and mental emphases of the movement research practiced by dancers of the Batsheva Dance Company. Considering the body

Substance

半身雕像

https://doi.org/10.1007/978-981-4451-24-6also explores the cognitive activities of the somatic practice and discusses their origins. It underlines the operation of the movement through somatic attention and intentionality. Following the analysis of “Float!” Katan sets the plan of inquiries for the following chapters.

使隔離

https://doi.org/10.1007/978-3-658-45686-3an 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.

aerial