Volume 7, Issue 2

The characteristic features of ensemble dance improvisation (EDI) make it an interesting case for theories of intentional collective action. These features include the high degree of freedom enjoyed by each individual, and the lack of fixed hierarchical roles, rigid decision procedures, or detailed plans. We present a “reductive” approach to collective action, apply it to EDI, and show how the theory enriches our perspective on this practice. We show, with the help of our theory of collective action, that EDI (as typically practiced) constitutes a significant collective achievement, one that manifests an impressive, spontaneous, jointly cooperative and individually highly autonomous activity that meets demanding aesthetic standards. Its being good in this way is not a mere extrinsic feature of the artwork, but part of its aesthetic value. We end by discussing how this value is easily missed by classic aesthetics, but is revealed by more contemporary frameworks like social aesthetics.

Was bisexuality a widespread feature of ancient Greek society? This question is an instance of cross-cultural projection -- of taking the means through which people are categorized in one culture and applying it to members of another. It’s widely held by those who think that sexual orientation is socially constructed that its projection poses a problem. In this paper, I offer a more careful analysis of this alleged problem. To analyze projection, I adapt Iris Einheuser’s substratum-carving model of conventionalism to fit the specific needs of social construction (and social metaphysics more broadly). Using this model, I show that projection is conceptually coherent, and so does not for that reason pose any problem. Along the way, I identify some of the epistemic difficulties facing projection. While these difficulties are formidable, they are not substantially affected by the constructivist claim. I therefore conclude that there is no unique problem facing the projection of a socially constructed sexual orientation.

In this article I shall argue that the categories a subject employs to codify her perceptions are emergent elements of the social niche her community inhabits. Hence, I defend the claim that categories are primarily elements of the social ontology a certain subject experiences. I then claim that public representations (e.g. icons) shared in a social niche play a crucial regulative role for the members of that community: in fact, they offer a rule (a canon) to conceive a certain type or a certain category, e.g. ‘movement’, ‘time’ or ‘space’. In this sense, categories function as normative elements.

In considering patriarchy as potentially institutional and as a characteristic also of contemporary Western societies, a fundamental issue concerns how to make sense of largely informal institutions to begin with. Traditional accounts of institutions have often focused on formalized ones. It is argued here, however, that the principal idea behind one commonly accepted conception of institutions can be developed in a way that better facilitates an explication of informal institutions. When applied to the phenomenon of patriarchy, such an approach can then also allow us to ontologically make sense of gray areas and hierarchies of authority, as well as the intersectionality of social positions.