ABSTRACT
Dance and music serve in this essay to exemplify both the looping entanglement of art and life as well as the account of art and philosophy developed in Strange Tools. This essay replies to criticisms of Carrie Noland, Nancy S. Struever, and Thomas Rickert and also offers a briefer restatement of the general approach.
art, choreography, Collingwood, consciousness, dance, Dewey, ecstasy, enactive approach, entanglement, experience, music, perception, pop music, positive science, style
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2021
The Pennsylvania State University
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