Summary and Initial Exploration of Barbara Gail Montero's Article "The Artist as Critic: Dance Training, Neuroscience, and Aesthetic Evaluation"
Journal: Arts Studies and Criticism DOI: 10.32629/asc.v3i2.903
Abstract
In a sentence in the article "The Artist as Critic", Wilde reveals that critics are also artists and that critics should have their aesthetic appraisal, and the purpose of criticism is to be more innovative. Meanwhile, the writer reads Barbara Gail Montero's article (The Artist as Critic: Dance Training, Neuroscience, and Aesthetic Evaluation) and attempts to find a breakthrough in dance training and neuroscience to achieve the ability to establish one's aesthetic evaluation. This paper tries to understand the Multi-expression forms of art from the relationship between dance training, neuroscience, and aesthetic evaluation. This interdisciplinary study can evolve into an integral part of the field of dance. In order to further promote the development stages and value of applications in the research work, a series of integration and related analyses has been investigated by the author.
Keywords
The Artist as Critic, Barbara, dance training, neuroscience, aesthetic evaluation
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[13]Lapshina, V. (2020). Aesthetic Evaluation in Architectural Education. Manuskript, 152–156. https://doi.org/10.30853/mns200518
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[16]Montero, B. (2013). The Artist as Critic: Dance Training, Neuroscience, and Aesthetic Evaluation. The Journal of Aesthetics and Art Criticism, 71. https://doi.org/10.1111/jaac.12006
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[19]Rosenthal, M., Mcpherson, A., Docherty, C., & Klossner, J. (2021). Perceptions and Utilization of Strength Training and Conditioning in Collegiate Contemporary and Ballet Dancers: A Qualitative Approach. Medical Problems of Performing Artists, 36, 78–87. https://doi.org/10.21091/mppa.2021.2012
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[21]Shen, Y., Zhao, Q., Huang, Y., Liu, G., & Fang, L. (2020). Promotion of Street-Dance Training on the Executive Function in Preschool Children. Frontiers in Psychology, 11. https://doi.org/10.3389/fpsyg.2020.585598
[22]Vukadinović, M. S., & Marković, S. (2021). Factor structure of audiences' physical experience while watching dance. PsyCh journal, 10.1002/pchj.513. Advance online publication. https://doi.org/10.1002/pchj.513
[23]Wu, W. (2017). Thought in Action: Expertise and the Conscious Mind, by Barbara Gail Montero. https://doi.org/10.1080/00048402.2017.1330834
[24]Zardi, A., Carlotti, E. G., Pontremoli, A., & Morese, R. (2021). Dancing in Your Head: An Interdisciplinary Review. Frontiers in Psychology, 12. https://www.frontiersin.org/article/10.3389/fpsyg.2021.649121
[2]Berger, A. (2003). Positron emission tomography. BMJ : British Medical Journal, 326(7404), 1449. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1126321/
[3]Chatterjee, A., & Vartanian, O. (2016). Neuroscience of aesthetics. Annals of the New York Academy of Sciences, 1369. https://doi.org/10.1111/nyas.13035
[4]Collard-Stokes, G., & Irons, J. (2022). Artist wellbeing: Exploring the experiences of dance artists delivering community health and wellbeing initiatives. Research in Dance Education, 23, 60–74. https://doi.org/10.1080/14647893.2021.1993176
[5]Essex, J. (2021). Tracing the impacts of informal dance training: A case study of falling on your feet, a program for dancers over 65. Theatre, Dance and Performance Training, 1–14. https://doi.org/10.1080/19443927.2021.1930128
[6]George, D. (2020). The Natural Body in Somatics Dance Training. https://doi.org/10.1093/oso/9780197538739.001.0001
[7]Iqbal, J., & Sidhu, M. (2022). Acceptance of dance training system based on augmented reality and technology acceptance model (TAM). Virtual Reality, 26, 1–22. https://doi.org/10.1007/s10055-021-00529-y
[8]Karpati, F. J., Giacosa, C., Foster, N. E. V., Penhune, V. B., & Hyde, K. L. (2015). Dance and the brain: A review. Annals of the New York Academy of Sciences, 1337, 140–146. https://doi.org/10.1111/nyas.12632
[9]Kirsch, L., & Cross, E. (2018). The influence of sensorimotor experience on the aesthetic evaluation of dance across the life span. In Progress in Brain Research (Vol. 237, pp. 291–316). https://doi.org/10.1016/bs.pbr.2018.03.012
[10]Kirsch, L., & Cross, E. (2022). Training Effects on Affective Perception of Body Movements (pp. 213–218). https://doi.org/10.1093/oso/9780197513620.003.0042
[11]Koh, Y., Kim, S., & Noh, G. (2018). Tango Therapy: Current Status and the Next Perspective Review Article Corresponding author. https://doi.org/10.33140/JCRC/03/08/00005
[12]Kolcio, K. (2010). The body Eclectic: Evolving Practices in Dance Training (review). Dance Research Journal, 42, 96–99. https://doi.org/10.1353/drj.0.0067
[13]Lapshina, V. (2020). Aesthetic Evaluation in Architectural Education. Manuskript, 152–156. https://doi.org/10.30853/mns200518
[14]Mintarsih, R., & Azizah, B. (2020, January 1). Mirroring Exercise: Dance/Movement Therapy for Individuals with Trauma. https://doi.org/10.2991/assehr.k.200120.029
[15]Montero, B. (2007). Practice makes perfect: The effect of dance training on the aesthetic judge. Phenomenology and the Cognitive Sciences, 11, 59–68. https://doi.org/10.1007/s11097-011-9236-9
[16]Montero, B. (2013). The Artist as Critic: Dance Training, Neuroscience, and Aesthetic Evaluation. The Journal of Aesthetics and Art Criticism, 71. https://doi.org/10.1111/jaac.12006
[17]Nadal, M., & Pearce, M. (2022). The Cognitive Neuroscience of Aesthetic Experience (pp. 36–40). https://doi.org/10.1093/oso/9780197513620.003.0008
[18]Nannicelli, T. (2020). Aesthetic Evaluation and Film. The British Journal of Aesthetics, 60, 362–364. https://doi.org/10.1093/aesthj/ayz046
[19]Rosenthal, M., Mcpherson, A., Docherty, C., & Klossner, J. (2021). Perceptions and Utilization of Strength Training and Conditioning in Collegiate Contemporary and Ballet Dancers: A Qualitative Approach. Medical Problems of Performing Artists, 36, 78–87. https://doi.org/10.21091/mppa.2021.2012
[20]Ruprecht, L. (2007). The romantic ballet and its critics: Dance goes public (pp. 175–183). https://doi.org/10.1017/CCOL9780521832212.017
[21]Shen, Y., Zhao, Q., Huang, Y., Liu, G., & Fang, L. (2020). Promotion of Street-Dance Training on the Executive Function in Preschool Children. Frontiers in Psychology, 11. https://doi.org/10.3389/fpsyg.2020.585598
[22]Vukadinović, M. S., & Marković, S. (2021). Factor structure of audiences' physical experience while watching dance. PsyCh journal, 10.1002/pchj.513. Advance online publication. https://doi.org/10.1002/pchj.513
[23]Wu, W. (2017). Thought in Action: Expertise and the Conscious Mind, by Barbara Gail Montero. https://doi.org/10.1080/00048402.2017.1330834
[24]Zardi, A., Carlotti, E. G., Pontremoli, A., & Morese, R. (2021). Dancing in Your Head: An Interdisciplinary Review. Frontiers in Psychology, 12. https://www.frontiersin.org/article/10.3389/fpsyg.2021.649121
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