 (For more on the idea of dance as texts see Franko 1993.) Other dance philosophers think that dance can be characterized by words and concepts but that these either apply to features of performance or to dance practices or events rather than to texts or structures. The non-structuralist dance philosophers observe that dances usually lack words or texts and are often developed without the use of a written plan, script or score of any kind (see Franko 1989 and 2011a; see also Franko 2017 for a recent anthology of dance and reconstruction, in particular the essay by Pakes [2017b] within it). They also note that even when there is a score, this score is not always used as an essential recipe for the performances but can instead just serve as the inspiration for a performance that is completely different (see Franko 1989). In addition, standardized notation forms are controversial, and no one form is universally accepted (see Franko 2011a and Van Camp 1998). Finally, there are dance philosophers who think that what makes dance special and worthy of philosophers’ interest lies in dance’s bodily, tactile, dynamic, felt, perceived and intuited aspects (sometimes referred to as its kinaesthetic or somatic elements). (See this entry’s  Sections 2 and 3  for more on these latter aspects of dance. See  Sections 1.1–1.2   below for more on focus on dance’s structural vs. non-structural features. See also Pakes 2006 for one account of the “mind-body” problem in dance.)