 The number of dance philosophers who are interested and involved in using empirical research in the cognitive sciences to help our understanding of the cognitive-physical components of making dance art in actions, events and performances is large and growing. These include Bläsing et al. 2012 and Bläsing et al. 2019; Bresnahan 2014a; Cross and Ticini 2012; Hagendoorn 2012; Katan 2016; Jang and Pollick 2011; He and Ravn 2018; Jola, Ehrenberg, and Reynolds 2012; Legrand and Ravn 2009; McKechnie and Stevens 2009; Merritt 2015; Montero 2006a, 2006b, 2010, 2012, and 2013; Seeley 2011 and 2013; Vass-Rhee 2018. Maxine Sheets-Johnstone’s body of dance philosophy work that incorporates research from the cognitive and other sciences is so extensive that they would require their own entry to list in full (see the ones in this entry’s bibliography for a start). See Bresnahan 2017a for an account of how dance training affects our temporal experience and Bresnahan 2019a for the view that expert dance movements are often experienced and perceived via subconscious processes before they are fully cognized. For a series of sustained arguments against the philosophical fruitfulness of using insights from cognitive science see McFee 2003, 2011a, and 2018.