Abstract
Katan analyzes Gaga as a technique to face perceptual challenges. The chapter discusses the meaning of having a technique, and suggests that Gaga as a technique provides dancers with the knowledge of how to handle perceptual processes in dance. The chapter continues to discuss the correlation between physical technique and habitus, analyzing the capacity to handle perceptual processes as a practice for habitual growth. The chapter concludes with a discussion concerning the relationship between habitus and its embodied worlds of ideas, analyzing the philosophical value and the aesthetic approach of Gaga.
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- 1.
Aristotle, NE (2009), Book VI, chapter 4, p. 105.
- 2.
Dewey (1934; 1980), p. 144: “The perceiver as well as the artist has to perceive, meet, and overcome problems; otherwise, appreciation is transient and overweighed with sentiment. For, in order to perceive aesthetically, he must remake his past experiences so that they can enter integrally into a new pattern. He cannot dismiss his past experiences nor can he dwell among them as they have been in the past.”
- 3.
Dewey (1934; 1980), p. 143: “The material that constitutes a problem has to be converted into a means for its solution.”
- 4.
Husserl, (1927–1931; 1997).
- 5.
Dewey (1934, 1980), p. 146: “Technique is neither identical with form nor yet wholly independent of it. It is, properly, the skill with which the elements constituting a form are managed. Otherwise it is show-off or virtuosity separated from expression. Significant advances in technique occur, therefore, in connection with efforts to solve problems that are not technical but that grow out of the need for new modes of experience.”
- 6.
Ibid.
- 7.
Of course, it uses different inspirations, such as building materials and “gestures,” from other techniques and experiences in the world as well. Methods are not closed systems.
- 8.
Bourdieu (1977), p. 78: “Habitual practices reproduce the regularities immanent in the objective conditions of production of their generative principle, while adjusting to the demands inscribed as objective potentialities in the situation.”
- 9.
Mathieu Hilgers, Habitus, Freedom, and Reflexivity. In: Theory & Psychology, Vol. 19 (6), 2009, pp. 728–55, p. 728.
- 10.
See: Bourdieu (1997), pp. 231–34: Back to the Relationship between Expectations and Chances.
- 11.
Aristotle, (1999), Book III, chapter 1, p. 58.
- 12.
Episteme, Techne, Naus, Phronesis, and Sophia.
- 13.
Merleau-Ponty (1945; 2007).
- 14.
Von Kleist (1810; 1972), p. 26.
- 15.
Saint Augustine, Confessions. Henry Chadwick (trans.), NY: Oxford University Press, 2008, pp. 221–45: Book XI: Time and Eternity.
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Katan, E. (2016). The Physical Practice of Intelligence. In: Embodied Philosophy in Dance. Performance Philosophy. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-60186-5_19
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DOI: https://doi.org/10.1057/978-1-137-60186-5_19
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