Abstract
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.
| Original language | English |
|---|---|
| Journal | AMERICAN SOCIETY FOR AESTHETICS GRADUATE E-JOURNAL |
| Volume | 7 |
| Issue number | 1 |
| Publication status | Published - 2014 |
Bibliographical note
The full text can be found here: http://www.asage.org/index.php/ASAGE/article/view/170/90Under a Creative Commons Attribution License
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Hetty Blades
- Research Centre for Dance Research - Associate Professor (Research)
Person: Teaching and Research