Dance takes many forms: ballet; tango; foxtrot; waltz; tai chi; aikido; kung fu ...all of these and more are ways of knowing; windows of perception, or as Michael Ahles might say: wings of freedom. We are capable of knowing on different levels---making us at least as unique as we hope we are. Last time I looked.
Warmest, Neuman.

William, not sure why you say that "one essential property of dance is that is it partnered." Haven't you ever seen a person dance by themselves? If that was dance, then partners are not essential!

DANCE TO THE MUSIC (OF TIME)
舞蹈是音乐有意为之的物理体现。音乐比舞蹈更神秘。(和不?不要嘲笑我?跳舞到沉默?或者类似的?那只是在没有音乐的情况下跳舞。)从哲学角度来说，迷人是1。每个人如何在他/她的舞蹈中反映和表达音乐;2.舞蹈风格和舞步的社会仪式要求; 3. The teaching of culturally agreed upon and recognized dance forms; and 4. The ways an observer of dance reflects on it and responds to it.

William deleted his comment.

John, you have described a wonderfully illuminating exercise: one that explores the difference between what my friend SusanS calls slow thinking and fast thinking. She calls "instinct" an example of fast thinking; you would probably say "intuitive intelligence" is another example. I think of both as more like the absence of thought; more like the goals of meditation. But however accomplished, your description of how to achieve certain new and useful mental states apart from the think-generated, through the application of the body to music, is an exciting avenue for a philosopher to pursue. Thank you.

顺便说一句，约翰，看看你用“诗歌”代替“舞蹈”的帖子是怎么读的。“我的经验是，诗歌激发了人类感知的某些方面，而这些方面是普通思维无法接触到的，因此，它包含了比普通思维更多的信息……它包含了对什么是真实的更清晰和更准确的感知。”隐喻比叙事“更真实”。

In case you missed it, we just had a Live Chat this week with Alva Noe, the guest on this show back in 2013. You can read the chat transcript here.

综合先天的问题是，它并不是先验分析的外部，它是先验分析的最后一个项，最终的还原性项，改变了，重新定义，重新部署了它的前提。这就是为什么先验可以是结果项。自负先行项绝对逻辑不变性的最严格的结果是它的方差。它最明显地体现在讽刺或讽刺中。但是如果你不明白这个笑话，你有效地僵化了先行词，因此保护它不受综合先验的影响，那是它唯一的完整项。剩下的就是aporia了。最短的时间就是最大的差别。
The relation between dance and the rationality of the sensual world is seduction.

Feuerbach has an interesting analogy in his essay on Hegel. Reading this essay it is hard not to find in Heidegger's Introduction to Metaphysics a glaring case of plagiarism. That would be Feuerbach's ending theme on 'nothingness'. But the essay begins with an image of time as homeopathic. I'm not exactly sure what he does mean in this, but homeopathy is a theory that dilution of a toxin to such a degree that the dosage is probably zero, that by putting a drop of poison in an ocean of diluent, that the smallest dosage of this preparation would cure its toxic effects. But if time is either a moment of differing or a steady drip of the same, how small a dose of this toxic difference is cured us of it and made us invulnerable to it? Isn't the least differing proved the thesis of constancy invalid? Ballet is designed to force human motion into inhuman form. Other forms of dance are claimed to be expressions of human bodily truth, think of Isadora Duncan. Social dance is meant to coordinate human physicality. By moving in synchrony we share bodily proximity in an especially disciplined way. But is it constancy in elegant movement or suspended clumsy-ness? I suppose robots will eventually be made to dance, but I suspect the result will be as unsatisfactory as computer performances of great musical compositions. It is the inability of humans to perfect the design, choreographic or musical, that is the elegance of the performance. The awkward humanity diluted by a fine discipline meant to render it as invisible as possible. And yet that diluted imperfection is the perfection of it, and what the computer cannot imitate. Death is the completest differing time is, and most momentous. And so time is filled with all the drip drip drip of constant need and satisfaction that so dilutes and attenuates our perception of it that we might almost never know how much more real it is. And that is why I say that dance is seduction. But which is the seducer, the discipline of constancy, or its proven attenuation of unendurable moment?


“如果只有这些，我的朋友，那么我们继续跳舞吧……”