Moving from a phenomenological theory of the lived body, the text outlines its constitutive role in human experience but especially in aesthetic perception. Against every reductionist and introjectionist objectification of the lived experience, every explanatory hypothesis of associationist and projectivist type, a pathic aesthetics ‒ that emphasizes the affective involvement that the perceiver feels unable to critically react to or mitigate the intrusiveness of ‒ is an adequate investigation of the felt body as sounding board of outside atmospheres and (...) Stimmungen. By means of its specific dynamics and lived “isles”, in fact the felt body feels what happens in the surrounding area without drawing on the five senses and the perceptual body schema. Felt-bodily isles turn out exactly to be both a tool for sensing the affective radiation provoked by atmospheres and quasi-things, and “places” that, communicating with each other and with our consciousness, are themselves quasi-things. (shrink)

A neo-phenomenological and atmospherological approach, mainly based on a first-person perspective, seems perfectly entitled to consider subjective and collective well-being as the starting point for a philosophical reflection. The question is, however, whether and how well-being, also as an atmosphere, can be really investigated and verified. The paper examines many traditional roblems hindering the research and suggests to analyze well-being from a pathic-atmospheric point of view. It therefore focuses especially on the idea of “flow”, wonders how much our well-being depends (...) on the felt-bodily resonances triggered by atmospheric situations, considers the probable parallels between the aesthetic-phenomenologic notion of “atmosphere” and the sociological one of “climate”, finally, underlines the need of an atmospheric competence that is able to partly immunize against today’s widespread manipulative atmospherization. (shrink)

This paper is intended to outline both a special field of somatic inquiry concerning bodily communication and resonance and a theoretical approach combining concepts from the philosophical discourse of “Leibphänomenologie” with empirical participant research on bodily practices in somatics and modern dance. Since both the field of inquiry and the theoretical approach are not yet well established, but rather a work in progress, the paper will focus on the delineation of some theoretical conjectures and conceptual propositions, a few (...) empirical observations, and open questions. (shrink)

The paper investigates the kind of collective feeling – or, better, atmosphere – that is generated by the situation of protracted emergency. After asking whether ours is in general an age marked by (media) emergency, what are the structural char-acteristics distinguishing short-term emergency from protracted emergency and to what extent we can speak of an effectively shared collective feeling of “emer-gency”, the analysis focuses on the atmospheric properties of this collective affec-tive situation and shows what are the possible resources to (...) escape from it (at least in part). Irreducible to the classic phenomenological intentionality, the at-mosphere of protracted emergency (whose case study here is that of the COVID 19 pandemic, which is also related to the “terror from the air” theorised by Sloterdijk) proves to be a chaotic situation that establishes with those who experi-ence it a very particular felt-bodily communication, based essentially on narrow-ness and hypochondria. It is an invisible atmosphere of which it is fairly easy to identify the markers on the phenomenal level, whereas it is largely impossible to anticipate the long-term (affective, social, cognitive) effects. (shrink)

This paper will explore the relationship between selfhood and depression, by focusing upon the lived body's capacity to 'resonate'with the world and thus open up an 'attuned' space of meaning. Persons will become differently tuned in different situations because they embody different patterns of resonance -- what is most often referred to as different temperaments -- but the self may also suffer from idiosyncrasies in mood profile that develop into deficiencies of resonance, making the person in question ill. In many (...) cases of depression one might describe this as a being out of tune in the sense of being oversensitive to the sad, anxious, and boring tune qualities of the world. This phenomenological model allows us to describe a spectrum of various normal sensitivities which might favour certain moods over others, but also to identify pathologies, like depression, in which the body is out of tune and makes the being-in-the-world overwhelmingly unhomelike. (shrink)

This article outlines a conception of emotions as mediopassive processes based on an understanding of the affective as situated felt-body phenomena. On these grounds, in the second part of the text, a form of emotional ability is introduced. It is described as the subject’s ability to mindfully feel and perceive her emotions in such a way that it allows her to both attend and subtly conduct the unfolding of the emotions’ dynamic gestalt. A philosophical grasp of this ability can (...) illuminate the vast middle ground between affect suppression and being overwhelmed by emotions, foregrounding a balance between mindfully controlling and surrendering to emotions. (shrink)

Following Erika Fischer-Lichte’s notion of emergence as an unexpected phenome-non that questions the notion of agency, our aim is to investigate how dance emerges through movements that are spontaneous and yet learnt while not being reducible to a motor expertise. Through Hermann Schmitz’ theory of the felt body, and notions such as “kinaesthetic attention”, grace and “pure” presence, we will show how dance movements emerge from the mutual “affective” influence be-tween dancers and the surroundings thanks to dancers’ “pathic” state (...) between awareness and unconsciousness, laîcher prise and restraint. (shrink)

This book begins with the distinction between the so-called 'lived body' or 'felt body' (Leib) and the 'physical body' (Körper), tracing the conceptual history of this distinction through key figures in philosophical and social thought and articulating a theory of the lived body that draws on the New Phenomenology developed by Hermann Schmitz. An explanation of our being-in-the-world in terms of a felt-bodily communication with all perceived forms and their affective-bodily resonance in us, "Being a Lived (...) Body" integrates and critically assesses the leading theories of embodiment, while presenting a new approach to the body. It will therefore appeal to scholars of philosophy, social theory and anthropology with interests in phenomenology and embodiment. (shrink)

Introduction: Traditionally, empathy has been studied from two main perspectives: the theory-theory approach and the simulation theory approach. These theories claim that social emotions are fundamentally constituted by mind states in the brain. In contrast, classical phenomenology and recent research based on enactive theories consider empathy as the basic process of contacting others’ emotional experiences through direct bodily perception and sensation. Objective: This study aims to enrich knowledge of the empathic experience of pain by using an experimental phenomenological method. (...) Method: Implementing an experimental paradigm used in affective neuroscience, we exposed 28 healthy adults to a video of sportspersons suffering physical accidents while practicing extreme sports. Immediately after watching the video, each participant underwent a phenomenological interview to gather data on embodied, multi-layered dimensions (bodily sensations, emotions, and motivations) and temporal aspects of empathic experience. We also performed quantitative analyses of the phenomenological categories. Results: Experiential access to the other person’s painful experience involves four main-themes. Bodily resonance: participants felt a multiplicity of bodily, affective, and kinesthetic sensations. Attentional focus: some participants centered their attention more on their own personal discomfort and sensations of rejection, while others on the pain and suffering experienced by the sportspersons. Kinesthetic motivation: some participants experienced the feeling in their bodies to avoid or escape from watching the video, while others experienced the need to help the sportspersons avoid suffering any injury while practicing extreme sports. Temporality of experience: participants witnessed temporal fluctuations in their experiences, bringing intensity changes in their bodily resonance, attentional focus, and kinesthetic motivation. Finally, two experiential structures were found: one structure is self-centered empathic experience, characterized by bodily resonance, attentional focus centered on the participant’s own experience of seeing the sportsperson suffering, and self-protective kinesthetic motivation; the other structure is other-centered empathic experience, characterized by bodily resonance, attentional focus centered on the sportsperson, and prosocial kinesthetic motivation to help them. Discussion: We show how phenomenological data may contribute to comprehending empathy for pain in social neuroscience. In addition, we address the phenomenological aspect of the enactive approach to the three dimensions of embodiment of human consciousness, especially the intersubjective dimension. Also, based on our results, we suggest an extension of the enactive theory for non-interactive social experience. (shrink)

The paper defends a version of the perceptual account of bodily feelings, according to which having a feeling is feeling something about one’s body. But it rejects the idea, familiar in the work of William James, that what one feels when one has a feeling is something biological about one’s body. Instead it argues that to have a bodily feeling is to feel an apparent bodily indication of something – a bodily appearance. Being aware of what (...) one’s body is apparently indicating to one is being aware of something about one’s body, but the focus of attention is on what is apparently being indicated, which is not something about one’s body. This is one way of making sense of the idea in contemporary phenomenology that the body is conspicuous in feelings that do not take the body as an object of awareness. Bodily inclinations are apparent indications of what one is going to do, and it is argued that feeling one’s bodily inclinations constitutes an important class of bodily feelings – e.g. feeling like crying or feeling like being sick. Such inclinations are often felt through a process of resisting them. Bodily inclinations also have some intentionality, albeit quite limited, and this goes some way towards explaining Peter Goldie’s concept of feelings towards. (shrink)

The paper aims to define the concept of “felt sense”, introduced in psychology and psychotherapy by E. T. Gendlin, in order to clarify its relation to bodily sensations and its difference from emotions. Gendlin’s own definition, according to which the felt sense is a conceptually vague bodily feeling with implicit meaning, is too general for this task. Gendlin’s definition is specified by pointing out, first, the different layers of awareness of bodily feelings and, second, the (...) difference between bodily readiness for action and motivation for action. According to the more precise definition, the felt sense is the awareness of readiness to act carried by the configuration of bodily sensations. The felt sense differs from emotions because it is not able to motivate the action for which it makes us ready. The article also discusses the intuition that led to the founding of Gendlin’s psychotherapeutic technique and compares it with the psychoanalytic concept of working through resistance during therapy. (shrink)

The critical aspects of deep brain stimulation are usually the focus of the ethical debate about the implantation of electrodes into the brain of patients with Parkinson’s disease. Above all, potential postoperative side effects on personality caused by DBS mark the debate. However, rehabilitation of agility and mobility by DBS can be posited against critical aspects. Therefore, the purpose of this article is to emphasize the hitherto neglected positive aspects of that technology. A detailed study of the rehabilitation of controlled (...) movements will thus be the object of this article. The possibility to move again in a controlled way will be discussed as freedom of movement. The concept freedom of movement is being linked to the observation of feelings of euphoria and joy that can occur after surgery for patients with PD stimulated in the subthalamic nucleus. This is done based on phenomenological analysis and qualitative interviews, in which the relation between freedom of movement and feelings of joy becomes clear. The aim here is to show that these feelings of exaltation express an essential feeling of freedom – a bodily felt freedom – which is grounded in movement and can be regained by STN-DBS. (shrink)

The paper examines the notion of habits from the perspective of a pathic aesthetics based on the neo-phenomenological theory of Leib (felt body) and its ubiquitous communication. By questioning whether experience should be considered as a confirmation or a failure of expectation, it shows the inextricable intertwining of the unexpected and routine in our involuntary life experience and delves into a well known phenomenological crux: is the lived or felt body what is subject to self-affection and proprioception or (...) rather the “absent” body, which is always transcended in its being-for-other (transitivity)? The assumption then that felt-bodily habits are formed through a motor scheme depending on its being a perfect pre-reflective resonance (especially thanks to its more or less stable “felt-bodily islands”) of outside atmospheric feelings and affordances that also becomes a true “style”, is finally examined by showing the points of both contact and discrepancy between a New Phenomenology (Hermann Schmitz) focused above all on the rediscovery (in a critical function) of the archaic dimension of the Leib and a melioristic Somaesthetics (Richard Shusterman) pragmatically interested in a more creative individual self-stylisation. (shrink)

The boom in new theories of resonance is most certainly due to an intellectual atmosphere closely linked to the so-called “affective turn” in the humanities. The paper compares some theories of resonance or responsivity such as Thomas Fuchs’ phenomenological-psychopathological analysis of resonance and Bernhard Waldenfels’ phenomenology of responsivity with a sociological research on resonance by which Hartmut Rosa aims at contrasting the capitalist dictatorship of the growth-acceleration-innovation triad and the resulting loss of bodily resonance in the modern age, and (...) above all with Hermann Schmitz’s phenomenology idea of felt-bodily communication. My aim is to show that by providing a neophenomenological approach to atmospheric perception – viewed as an affective and pre-reflexive bodily communication triggered by a spatial feeling whose sounding board is our Leib – a pathic aesthetics can assign both a diagnostic and a therapeutic value to the concept of resonance. This furthermore means that a sociology also attentive to the bodily and pre-linguistic dimension and a phenomenology also attentive to situative and historical-collective dimensions, both being able to focus on the pathicity of everyday life, may find an unexpected but promising point of contact. (shrink)

Summary The paper argues that all emotions possess a spatial and objective, social character. We can gain access to them only insofar as we are affected by them in a felt-bodily way. Therefore, we need a conception of felt embodiment if we are to achieve a philosophical understanding of the spatial character of emotions. Different phenomena, ranging from the atmospheres of landscapes to shared and individual emotions, illustrate the theses concerning the spatiality of emotions and atmospheres, exemplified (...) by the social contrast of emotions, among other things. The next step clarifies why we should distinguish between the emotion itself and the felt-bodily affection by the emotion. By means of distinctions between two types of felt-bodily or corporeal interaction, a unipolar and a bipolar form, we can gain a better understanding of the spatial character of emotions but also how resonances of emotions work. One result of our examination is that we can explain why positive collective emotions become more intense through shared bodily experience. (shrink)

This paper argues for the importance of a passive form of embodiment for educational purposes to capture tacit environmental influences. G. Buck’s account of learning as experience is put in discussion with psychological approaches to reveal the limitation of what psychology can achieve, especially when it comes to situated experiences within educational environments. As a solution to overcome this problem a concept of passive embodiment is developed that allows for a body that is receptive to multisensory environmental influences. Böhme’s concept (...) of atmospheres in relation to Schmitz’ New Phenomenology provide a theoretical framework to understand how these situated experiences are evoked by certain situations. This allows for a new understanding of passive, embodied experiences within educational environments by incorporating the tacit influences of the setting. (shrink)

We argue that the main objections against two central tenets of a Jamesian account of the emotions, i.e. that (1) different types of emotions are associated with specific types of bodily feelings (Specificity), and that (2) emotions are constituted by patterns of bodily feeling (Constitution), do not succeed. In the first part, we argue that several reasons adduced against Specifity, including one inspired by Schachter and Singer’s work, are unconvincing. In the second part, we argue that Constitution, too, (...) can withstand most of the objections raised against it, including the objection that bodily feelings cannot account for the outward-looking and evaluative nature of emotions. In both sections, we argue that the kinds of felt bodily changes posited by a Jamesian account of emotions are best understood in terms of felt states of action-readiness. (shrink)

Interactive social cognition theory and approaches of developmental psychology widely agree that central aspects of emotional and social experience arise in the unfolding of processes of embodied social interaction. Bi-directional dynamical couplings of bodily displays such as facial expressions, gestures, and vocalizations have repeatedly been described in terms of coordination, synchrony, mimesis, or attunement. In this paper, I propose conceptualizing such dynamics rather as processes of affective resonance. Starting from the immediate phenomenal experience of being immersed in interaction, I (...) develop the philosophical notion of affective resonance to refer to a dynamic entanglement of moving and being-moved in relation. The concept of affective resonance makes visible that the interaction dynamic itself creates an affective experience rather than transmitting internal feeling states between pre-existent individuals. This leads to a philosophical framework in which relationality and ontogeny are primary over separate individuals, and in which the naturalistic distinction of a fundamental physical level versus an emerging level of social processes has to be given up. (shrink)

The relevance of inner speech for human psychology, especially for higher-order cognitive functions, is widely recognized. However, the study of the phenomenology of inner speech, that is, what it is like for a subject to experience internally speaking his/her voice, has received much less attention. This study explores the subjective experience of inner speech through empathy for pain paradigm. To this end, an experimental phenomenological method was implemented. Sixteen healthy subjects were exposed to videos of sportswomen/sportsmen having physical accidents practicing (...) extreme sports. Immediately after the exposure to the stimuli, a phenomenological interview was conducted to gather data about bodily sensations, emotions, motivations, and inner speech of watching other people’s accidents. Participant’s inner speech expresses concern about the consequences the accident could generate to the sportswomen/sportsmen or about the participants themselves. Simultaneously, participants’ inner speech happened with negative emotional feelings, many sensations distributed throughout their bodies, and a felt knowledge coming from a meaningful but pre-reflective and pre-verbal bodily dimension. Our findings show that inner speech in empathy is not merely a psycholinguistic process or high-order cognitive function, but rather it is a complex experience that occurs deeply related to meaningful emotions, bodily sensations, and an implicit, somatically felt knowledge. (shrink)

This paper provides an assessment of the bodily-attitudinal theory of emotions, according to which emotions are felt bodily attitudes of action readiness. After providing a reconstruction of the view and clarifying its central commitments two objections are considered. An alternative object side interpretation of felt action readiness is then provided, which undermines the motivation for the bodily-attitudinal theory and creates problems for its claims concerning the content of emotional experience. The conclusion is that while the (...) bodily-attitudinal theory marks out a distinctive proposal concerning the question of what emotions are, there remain significant issues which need addressing if it is to be a plausible competitor to existing theories of emotion. (shrink)

While the current discussion on embodied cognition provides valuable accounts of an agent’s bodily sensitivity to instrumental possibilities, in this paper I investigate felt demands as the bodily-affective dimension of the agent’s recognition of deontic powers such as obligations. I argue that there is a close kinship between felt demands and affordances in the stricter sense. I will suggest that what is unique about felt demands on an experiential level is that they involve an evaluative (...) perspective arising from acute or anticipated shame-like feelings. The conclusion is that the recognition of deontic power is also a matter of bodily sensitivity. (shrink)

This chapter, which deals with the notions of affectivity and engagement, explores the internal connection between basic affects to get at the emergence of affectivity. Additionally, it presents a discussion of motivation and the interplay of affectivity and engagement. Basic affects consist of needs, wants, and desires. Needs and then wants involve a kind of circumspective seeing in which ‘felt’ values are as much a part of objects as their utility. Intentions-in-action are rooted in basic affects. The basic types (...) of affects are each triadically structured with the moments of each type being dyadically organised. The affectivity circuit usually begins with what is not yet a profile coming to prominence out of a dark background. The circuit of engagement is inducted by a bodily drive seeking resolution. (shrink)

This paper argues that pleasure and pains are not qualia and they are not to be analyzed in terms of supposedly antecedently intelligible mental states like bodily sensation or desire. Rather, pleasure and pain are char- acteristic of a distinctive kind of evaluation that is common to emotions, desires, and (some) bodily sensations. These are felt evaluations: pas- sive responses to attend to and be motivated by the import of something impressing itself on us, responses that are (...) nonetheless simultaneously con- stitutive of that import by virtue of the broader rational patterns of which they are a part and that they serve to de?ne. This account of felt eval- uations makes sense of the way in which pleasures and pains grab our attention and motivate us to act and of the peculiar dual objectivity and subjectivity of their implicit evaluations, while o?ering a phenomenology adequate to both emotional and bodily pleasures and pains. (shrink)

This chapter tries to make sense of a particular aspect of our contemporary experience: the so-called “post-truth era.” This era is characterized by strong polarization where it seems like the arguments and opinions of the opposing sides are informed by different realities. When beliefs are still held despite being debunked by contradicting evidence, it is easy to dismiss the opponent as “irrational,” resulting in breakdown of communication. This chapter argues that such beliefs may still feel right because they connect to (...) something deeper in the bodily awareness and lived experience, which Eugene Gendlin calls the “felt sense” or “felt meaning.” When we are disconnected from this bodily sense, it can result in various articulations which do not make sense at a surface level but critiquing the surface level articulations while ignoring their source often results in frustration and anger. Rather than dismissing people’s rationality, we should assume they have reasons for holding their beliefs, although they may not be able to articulate those reasons. Drawing on the works of Gendlin I argue for a sympathetic yet critical listening to the bodily sense which requires attention to the whole situation of our social environment. (shrink)

In this paper, I will provide a phenomenological analysis of somatic obsessions at times present in obsessive–compulsive disorder. I will compare two different types of bodily obsessions, which have a different neurological-physiological underpinning: anguishing awareness of one’s own heartbeat and of one’s own breathing. In addition, I will contrast these two with how one experiences one’s own liver. I will use the concepts "tactility obsessions” and "motility obsessions”, which I have coined for the purpose of this comparison. In other (...) words, these are obsessions concerning the felt sense of one’s autonomous organs and obsessions concerning one’s ability to voluntarily move. Ultimately, I claim that the core lived experience in somatic obsessive–compulsive disorder should not only be understood as having to do with intruding and "distorted thoughts” concerning bodily processes, but could also be understood as having to do with a felt sense of our organs interrupting and intruding our daily lives. (shrink)

Neglect of the moral promise of disorientation is a persistent gap in even the most sophisticated philosophies of embodiment. In this article, I begin to correct this neglect by expanding our sense of the range and nature of disoriented experience and proposing new visions of disorientation as benefiting moral agency. Disorientations are experienced through complex interactions of corporeal, affective, and cognitive processes, and are characterized by feelings of shock, surprise, unease, and discomfort; felt disorientations almost always make us unsure (...) of how to go on. I argue that experiences of disorientation can strengthen the moral agency of individuals. I begin by clarifying experiences of felt ease and orientation. I then characterize disoriented embodiment by investigating select experiences that often involve or accompany disorientation, focusing throughout on how disorientation prompts changes in motivation and action. I conclude by charting how disoriented embodiments can help individuals become better moral agents overall, in part by challenging norms that restrict embodiment and undermining dualistic conceptions of the self. (shrink)

In certain startling neurological and psychiatric conditions, what is ordinarily most intimate and familiar to us—our own body—can feel alien. For instance, in cases of somatoparaphrenia subjects misattribute their body parts to others, while in cases of depersonalization subjects feel estranged from their bodies. These ownership disorders thus appear to consist in a loss of any feeling of bodily ownership, the felt sense we have of our bodies as our own. Against this interpretation of ownership disorders, I defend (...) Sufficiency, the thesis that every experience of bodily awareness suffices for a feeling of bodily ownership. Since Sufficiency conflicts with a face‐value interpretation of these ownership disorders, the burden is on me to explain away the apparent tension. To do so, I identify and correct what I believe to be the fundamental mistake in the extant literature on the feeling of bodily ownership, namely the tendency to treat the notion of a feeling of bodily ownership as a single psychological construct. Instead, I distinguish the feeling of minimal ownership, the first‐personal character of bodily awareness, from the feeling of affective ownership, the distinctive type of felt concern we have for our bodies. I motivate this distinction by raising the disownership puzzle, the fact that subjects suffering from ownership disorders display an ambiguous set of symptoms, arguing the distinction I draw between minimal and affective ownership is just what is required to resolve the puzzle. (shrink)

Historically, the concept of androgyny has been as problematic as it has been appealing to Western progressives. The appeal clearly includes, inter alia, the opportunity to abandon or ameliorate certain identities. As for the problematic dimension, the central problem seems to be the reduction of otherness to the norms of straight white middle/upper-class Western cismen, particularly because of the consequent worsening of actual others’ marginalization and exclusion from social institutions. Despite these problems, I wish to suggest that androgyny—as evidenced by (...) the enthusiasm felt for it by many Westerners—bespeaks something larger and more important than the concept itself, and that modified conception of it might be helpful in pursuit of social justice. (shrink)

As most philosophers recognize, the body’s central role in touch differs from the role it plays in the other sense modalities. Any account of touch must then explain the pivotal nature of the body’s involvement in touch. Unlike most accounts of touch, this paper argues that the body’s centrality in touch is not phenomenological or experiential: the body is not felt in any special way in tactile experiences. Building on Aristotle’s account in De Anima, I argue that the body (...) is central in touch because it is the medium of tactile perception. Touch depends on the body as vision and audition depend on air or any medium that can transmit light or sound waves. I show that it is precisely because the body must be transparent in order to transmit tangible properties that it cannot be perceived or experienced in tactile perception. Although this account conflicts with the widespread view that tactile perception is mediated by bodily sensations, I maintain that it explains how the structure and constitution of the human body contribute directly to what we feel in tactile experiences and that it provides a better understanding of the relation between the sense of touch and our bodily feelings. (shrink)

In this paper, I invoke various matterings of felt in order to generate a practice of writing that engenders bodily difference that is affective, moving, and wooly. In attending to ‘how to write as felt,’ as a touching encounter, I consider how human and nonhuman matter composes. This co-mingling that felt performs enacts what Alaimo calls transcorporeality. Connecting felt with theories of touch and transcorporeality becomes a way to open up and re-configure different bodily (...) imaginaries, both human and nonhuman, that are radically immanent and intensive; as an assemblage of forces and flows that open bodies to helices and trans connections :27–58, 2017b). My contribution to this collection on ‘humanity in a posthuman age’ is experimental and performative. Felt is activated not as a metaphor but rather poses questions about what writing does at the interstices between research and creation. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

In bodily awareness body parts are felt to occupy locations relative to the rest of the body. Bodily sensations are felt to be, in Brian O’Shaughnessy’s terms ‘in-a-certain-body-part-at-a-position-in-body-relative-physical-space’. In this paper I put forward a dispositional account of the structure of the spatial content of bodily awareness, which takes inspiration from Gareth Evans’s account of egocentric spatial content in The Varieties of Reference. On the Dispositional View, bodily awareness experiences have spatial content in virtue (...) of a set of connections having been established between somatosensory and proprioceptive inputs on the one hand, and motor outputs on the other hand. This kind of account, according to which spatial content depends constitutively on bodily action, has been challenged by a set of neurological cases and behavioural studies on healthy subjects. The evidence has been used to motivate a functional distinction between two kinds of body representation: representations for perception and representations for action. I review and assess some of the main sources of evidence for this distinction, arguing that the evidence presents a challenge to the dispositional view only if we accept the unjustified assumption that differences in task performance can only be explained in terms of a difference in representation. I close by proposing, and offering some empirical support for, an alternative explanation of the empirical results. The availability of the alternative explanation means that further work is needed to establish whether or not there is any challenge to the Dispositional View. (shrink)

In this paper, drawing on phenomenological and clinical literature, we will describe shame as a resonant emotion where the subjects involved are intertwined with one another thanks to two pre-reflective features of selfhood: embodiment and common sense. Furthermore, we will pay particular attention to the notion of intercorporeality, as it reflects the fact that our self, since birth, is essentially relational and embodied. In doing so, we will use the case of autism spectrum disorder as a paradigmatic situation and we (...) will claim that the difficulties experienced by autistic subjects in feeling shame (and other complex emotions) are primarily due to the lack or the impairments in the domains of intercorporeality and common sense. In this view, shame reveals its complex nature and it is synonymous with a bodily and essentially relational emotion. (shrink)

This paper is a critical analysis and overview of body image conceptualization and its scope and limits within the field of eating disorders up to the present day. In addition, a concept ofemotional bodily experienceis advanced in an attempt to shift towards a more comprehensive and multidimensional perspective for thelived bodyof these patients. It mainly considers contributions from phenomenology, embodiment theories and a review of the empirical findings that shed light on the emotional bodily experience in eating disorders. (...) It proposes an ‘embodied defense’ that leads patients to experiencing their own bodies as objects. This proposal highlights the need for new psychotherapeutic tools in the treatment ofeds that take into account the bodily resonance of emotions and their use for improving adaptive responses to the environment: it calls for helping patients to recover the subjective experience of their bodies. (shrink)

Simple heuristics exploit basic human abilities, such as recognition memory, to make decisions based on sparse information. Based on the relative speed of recognizing two objects, the fluency heuristic infers that the one recognized more quickly has the higher value with respect to the criterion of interest. Behavioral data show that reliance on retrieval fluency enables quick inferences. Our goal with the present functional magnetic resonance imaging study was to isolate fluency-heuristic-based judgments to map the use of fluency onto specific (...) brain areas that might give a better understanding of the heuristic’s underlying processes. Activation within the claustrum for fluency heuristic decisions was found. Given that claustrum activation is thought to reflect the integration of perceptual and memory elements into a conscious gestalt, we suggest this activation correlates with the experience of fluency. (shrink)

In the article, I propose that the body phantom is a phenomenal and functional model of one’s own body. This model has two aspects. On the one hand, it functions as a tacit sensory representation of the body that is at the same time related to the motor aspects of body functioning. On the other hand, it also has a phenomenal aspect as it constitutes the content of conscious bodily experience. This sort of tacit, functional and sensory model is (...) related to the spatial parameters of the physical body. In the article, I postulate that this functional model or map is of crucial importance to the felt ownership parameters of the body (de Vignemont 2007), which are themselves considered as constituting the phenomenal aspect of the aforementioned model. (shrink)

The article investigates the rhetorical means of mediating affective experience in occasioned storytelling. The completion of this article has been supported by The Emil Aaltonen Foundation and The Academy of Finland project (285144) The Literary in Life and The Academy of Finland project (326645) European Solidarities in Turmoil. We are interested in the forms and aspects of bodily action in signifying and communicating a “para-factual experience” that was triggered by a real-life incident, but in fact only took place in (...) a person’s imagination. We explore the case of a TV interview in which an American living in Finland narrates a personal, disturbing experience related to the news about 9/11. The story presents a visual scenario of the teller’s affective reaction towards two Muslim women in a grocery store. What is interesting in the story are its involuntary dimensions: the scenario portrays a picture of the teller that he finds unrecognizable and detached from his sense of self as a person. Even if the act was never actually realized, to the teller it felt real and compelling, as is manifest in the way he translates the scenario into a bodily performance. The teller not only uses his body to tell the story but momentarily turns the surrounding setting into a scene in the storyworld in which he plays the unidentified me. We call this physical performance of the imagined scene the embodied ekphrasis of experience. In Semiotica, the rhetorical device of ekphrasis has appeared before (see Frosh 2003; Hopkins 2015; Nesselroth 2016; Sarapik 2009) from such literary and linguistic perspectives, as well as through the lens of media research and cultural studies, to which our application will add from the viewpoint of ethnomethodology and the social sciences. Deploying research on multimodal interaction and intermediality, our empirical analysis explicates how the teller’s body, and not just words, build action, convey affective meaning, and resemiotize and mobilize a physical enactment of the past hypothetical scene. (shrink)

A first aspect has to do with the non-intentional and primal praxis of the living body. To this is added its status as a support for the sensuous values of comfort and health and a springboard for spiritual values, the highest level of which lies in the ethical values of the person. These Husserlian views find new developments in phenomenology: M. Henry highlights a pre-intentional “I can”, M. Scheler analyzes the relationship between hedonistic, vital, and spiritual values, and P. Ricoeur (...) describes the living body both as the “source” of its own proper values and the “affective resonator” of all values, and also outlines a view on happiness that encompasses particular bodily attunements. Finally, Husserl considers the offering of the living body to spiritual values in sacrifice as the positive assertion of humankind’s life. J. Patočka and E. Levinas have developed this line of thought. (shrink)

If, as argued in some simulationist accounts, empathy aims at grasping the phenomenal richness of the other’s experience and resonating with it, it is difficult to explain our empathy with emotions that we have never experienced ourselves. According to a long philosophical tradition, imagination is constrained by experience. We have to be acquainted with the qualitative feel of the other’s experience in order to imagine it. A critical view of simulationist accounts would claim that if we cannot imagine how the (...) other feels because we are not acquainted with it, empathy cannot take place. Contrary to such criticism, this paper takes a moderately optimistic view of the simulationist claim. It develops a model to explain how we imagine the other’s emotions by drawing on phenomenal concepts, affective memories, and imaginative scaffoldings. I argue that this model can explain how we empathize with the other’s emotions regardless of whether these are familiar or novel to us. However, in the latter case, the imagined phenomenal quality is not identical but probably only similar to the other’s emotion. This similarity suffices for us to speak about empathy. (shrink)

The debate on personal persistence has been characterized by a dichotomy which is due to its still Cartesian framwork: On the one side we find proponents of psychological continuity who connect, in Locke’s tradition, the persistence of the person with the constancy of the first-person perspective in retrospection. On the other side, proponents of a biological approach take diachronic identity to consist in the continuity of the organism as the carrier of personal existence from a third-person-perspective. Thus, what accounts for (...) someone’s persistence over time, is the continuity of his mind on the one hand, and the continuity of his body on the other. In contrast to those views, the paper intends to show that bodily existence represents the basis of selfhood across time, both as the continuity of the experiential self and as the continuity of the autopoietic organism. On the one hand, the lived body conveys a continuity of the self from a first-person perspective, namely a pre-reflective feeling of sameness or a felt constancy of subjectivity. Moreover, an analysis of awakening and sleep shows that there is a continuous transition from full wakefulness to periods of deep sleep which may thus not be regarded as a complete interruption of subjective experience. On the other hand, this constancy converges with the continuity of the organismic life process as conceived from a third-person perspective. Thus, the experiential self of bodily subjectivity and the autopoietic self of the living organism should be regarded as two aspects of one and the same life process. Finally, the lived body also exhibits a specific form of memory that results from the continual embodiment of existence: it consists of all the affinities, capacities and experiences, which a person has acquired throughout his life. Thus, it provides a continuity of self that must not be actively produced through remembering, but rather integrates the person’s entire past in his present being and potentiality. (shrink)

Bodily sensations are mental states typically suitable to be reported in judgments in which a first-person indexical is used to qualify the felt body. In other words, subjects typically have a sense of bodily ownership for the body that they feel in bodily sensations. This paper puts forward, firstly, three desiderata that theories on the sense of bodily ownership should meet. Secondly, it assesses two views that account for the sense of bodily ownership in (...) terms of the spatial content of bodily sensations, appealing to a notion of a sense of boundedness, and argues that they do not meet the goals defined. (shrink)

Imagine that Socrates gets a cavity treatment. The drilling is painful, but he also knows that it is best to get it done and so he stays. Callicles is not so smart. Once the dentist starts drilling, Callicles takes off. I argue that this scenario presents a puzzle that interpreters have missed, namely: why does Socrates have an aversion to pain? To us, this might not be puzzling at all. Socrates, however, believes that we have an aversion only to bad (...) things and that pain is not in fact bad. If Socrates knows that pain is not bad, why does he still feel aversive pain from drilling? I argue that the Protagoras and Hippias Major suggest that pain immediately appears to be bad to us. So even though pain is not in fact bad, it appears and feels that way, and thus even Socrates has an aversion to it. Pain is a felt evaluation. My interpretation contributes to the debates in the literature in two ways. First, it fills an explanatory gap. Interpreters have acknowledged that a Socratic theory of motivation has room for pain aversions as “itches,” but they leave unexplained why we have an aversion to pain, i.e., why those itches itch. Second, I offer an alternative account of Socratic motivation by proposing that pain aversions can motivate some of our actions. (shrink)

From the nineteen sixties onwards a branch of philosophy of science has come to development, called history-oriented philosophy of science. This development constitutes a reaction on the then prevailing logical empiricist conception of scientific knowledge. The latter was increasingly seen as suffering from insurmountable internal problems, like e. g. the problems with the particular "observational-theoretical distinction" on which it drew. In addition the logical empiricists' general approach was increasingly criticized for two external shortcomings. Firstly, the examples of scientific knowledge that (...) the logical empiricists were focusing on were con sidered as too simplistic to be informative on the nature of real life science. Secondly, it was felt that the attention of these philosophers of science was restricted to the static aspects of scientific knowledge, while neglecting its developmental aspects. History-oriented philosophy of science has taken up the challenge implicit in the latter two criticisms, i. e. to develop accounts of science that would be more adequate for understanding the development 1 of real life science. One of the more successful products of this branch of philosophy of science is Lakatos's theory of scientific development, sometimes called the "methodology of scientific research programmes". This theory conceives science as consisting of so called research program mes developing in time, and competing with each other over the issue which one generates the best explan~tions of the phenomena that they address. (shrink)

In the paper Gernot Böhme considers the spatial aspects of the perception of sound, especially the human voice, which he sees not as a verbal bearer of meaning but the expression of “the speaker’s atmospheric presence.” The voice lends the communication space emotional colour and the atmospheres it creates envelop the communication partners by way of resonance. The author sets the signatures concept propounded by the Renaissance philosopher Jacob Böhme against semiotic theories: understanding music is not interpretation but resonance. Gernot (...) Böhme also focuses on contemporary experimental music, where musical instruments are not treated as tools for the production of musical sounds but bodies “provoked” to generate specific sounds in the acoustic space. (shrink)

We experience our own body through both touch and vision. We further see that others’ bodies are similar to our own body, but we have no direct experience of touch on others’ bodies. Therefore, relations between vision and touch are important for the sense of self and for mental representation of one’s own body. For example, seeing the hand improves tactile acuity on the hand, compared to seeing a non-hand object. While several studies have demonstrated this visual enhancement of touch (...) effect, its relation to the ‘bodily self’, or mental representation of one’s own body remains unclear. We examined whether VET is an effect of seeing a hand, or of seeing my hand, using the rubber hand illusion. In this illusion, a prosthetic hand which is brushed synchronously—but not asynchronously—with one’s own hand is felt to actually be one’s hand. Thus, we manipulated whether or not participants felt like they were looking directly at their hand, while holding the actual stimulus they viewed constant. Tactile acuity was measured by having participants judge the orientation of square-wave gratings. Two characteristic effects of VET were observed: cross-modal enhancement from seeing the hand was inversely related to overall tactile acuity, and participants near sensory threshold showed significant improvement following synchronous stroking, compared to asynchronous stroking or no stroking at all. These results demonstrate a clear functional relation between the bodily self and basic tactile perception. (shrink)

Depersonalization/derealization disorder is classified as a dissociative disorder in the DSM5. It is noteworthy that the symptoms of depersonalization and derealization are commonly found in many other psychological disorders, including schizophrenia spectrum disorders, while phenomenological features of schizophrenia are commonly found in DPDR. The current study attempts to clarify these apparent similarities via highly detailed phenomenological interviews with four persons diagnosed with DPDR. The data revealed four interrelated facets: 1, Loss of resonance, 2, Detachment from experience, 3, Loss of self, (...) and 4, Commitment to reality. These facets point to a felt loss of immediate and familiar engagement in experience as a basic organizing Gestalt which permeates the various symptoms and signs of our participants with DPDR. Close consideration of this disruption allows their experiences to be more easily distinguished from those of schizophrenia-spectrum disorders. (shrink)

This paper considers some foundational concepts in ecological psychology and in enactivism., and traces their developments from their historical roots to current preoccupations. Important differences stem, we claim, from dissimilarities in how embodied experience has been understood by the ancestors, founders and followers of ecological psychology and enactivism, respectively. Rather than pointing to differences in domains of interest for the respective approaches, and restating possible divisions of labor between them in research in the cognitive and psychological sciences, we call for (...) a deeper analysis of the role of embodiment in agency that we also undertake. Awareness of the differences that exist in the respective frameworks and their consequences, we argue, may lead to overcoming some current divisions of labor and responsibility, and contribute to a more comprehensive and complementary way of dealing with a broader range of theoretical and practical concerns. While providing some examples of domains, such as social cognition and art reception, in which we can observe the relative usefulness and potential integration of the theoretical and methodological resources from the two approaches, we demonstrate that such deeper synergy is not only possible but also beginning to emerge. Such complementarity, as we envisage, conceives of ecological psychology that allows felt experience as a crucial dynamical element in the explanations and models that it produces, and of an enactive approach that takes into consideration the ubiquitous presence of rich directly perceived relations among variables arising from enactments in the social and physical world. (shrink)