The way we access dance is changing as the form is now widely viewed via digital transmission and documentation. This paper considers the ontological impact of this cultural shift. It sets out to challenge the view that dance works are accessible only through live performance (Carr, 1987; McFee 1992, 2011). Adopting a non-realist ontological perspective, (Davies 2009; Thomasson 2005), I suggest that the way we relate to screenings and recordings of dance works impacts on the ontological status of the form, thus problematising existing schemata and calling for further philosophical consideration.
|Journal||AMERICAN SOCIETY FOR AESTHETICS GRADUATE E-JOURNAL|
|Publication status||Published - 2014|
Bibliographical noteThe full text can be found here: http://www.asage.org/index.php/ASAGE/article/view/170/90
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