The paper discusses kinaesthetic empathy based on the German philosopher Edith Stein’s theory of empathy. Applying Stein’s study of empathy, this paper examines empathy as a particular form of the act of knowing. Instead of a mere emotion, empathy entails a re-living or a placing ourselves ‘inside’ another’s experience. We may grasp another’s living, moving body as another centre orientation of the world through our own kinaesthetic sense and body topography. Kinaesthetic empathy seems to have a partial capacity to make (...) sense of others’ experiential movements and reciprocally our own bodily movements. It makes possible to understand the non-verbal kinetic experiences through which we may acquire knowledge of the other’s bodily movements on the basis of our own body topography. There is recognition that we never reach the other’s primordial movement experience. (shrink)

Introduction: a peculiar experiment -- Kinaesthetic knowing: the nineteenth-century biography of another kind of knowledge -- Looking: Wölfflin's comparative vision -- Affecting: Endell's mathematics of living feeling -- Drawing: the Debschitz school and formalism's subject -- Designing: discipline and introspection at the Bauhaus -- Epilogue.

The hyletic component of kinaesthetic sensation has generally been treated with suspicion. It is usually set aside in favour of Husserl’s later analysis of kinaesthetic experience which emphasizes its practical dimension. I try to show that a nuanced understanding of the hyletic component allows us to consider its deeper temporal function. From a rather neglected passage in his Ding und Raum I show that Husserl was aware of the temporal peculiarity of kinaesthetic sensation: it is characterized by a unique kind (...) of “sameness”. I then try to explain how the hyletic dimension of kinaesthetic sensation is responsible for this peculiarity. By escaping the contingencies of protentional fulfilment kinaesthetic hyle merely unifies in an actual “belonging-together” our sensing of position and the motivation of the correlative appearances. It is on this basis that it fundamentally shapes at a passive-hyletic level the complex temporal dynamic of the practical dimension of kinaesthetic experience. (shrink)

Bien que le rôle dans l’expérience esthétique des kinesthèses remontant au cycle action-perception du processus de création artistique soit reconnu par la théorie neurocognitive de l’esthétique, on n’a pas encore dissocié les contributions respectives des sensations corporelles et de la simulation interne, deux dimensions distinguées par T. Lipps. Pour désambiguer la part de l’empathie kinesthésique dans l’expérience esthétique de la musique, on a comparé les enregistrements des micro-gestes d’exécution de musiciens avec leur compte-rendu de l’expressivité musicale éprouvée lors de l’observation (...) et de l’exécution de morceaux de musique. (shrink)

Machine consciousness exists already in organic systems and it is only a matter of time -- and some agreement -- before it will be realised in reverse-engineered organic systems and forward- engineered inorganic systems. The agreement must be over the preconditions that must first be met if the enterprise is to be successful, and it is these preconditions, for instance, being a socially-embedded, structurally-coupled and dynamic, goal-directed entity that organises its perceptual input and enacts its world through the application of (...) both a cognitive and kinaesthetic imagination, that I shall concentrate on presenting in this paper. It will become clear that these preconditions will present engineers with a tall order, but not, I will argue, an impossible one. After all, we might agree with Freeman and Núñez's claim that the machine metaphor has restricted the expectations of the cognitive sciences (Freeman & Núñez, 1999); but it is a double-edged sword, since our limited expectations about machines also narrow the potential of our cognitive science. (shrink)

A myriad of sensations inform and direct us when we engage with the environment. To understand their influence on the development of our habitus it is important to focus on unifying processes in sensing. This approach allows us to include phenomena that elude a rather narrow view that focuses on each of the five discrete senses in isolation. One of the central questions addressed in this volume is whether there is something like a sensual habitus, and if there is, how (...) it can be defined. This is especially done by exploring the formation and habituation of the senses in and by a culturally shaped habitat. Two key concepts, Synaesthesia and Kinaesthetics, are addressed as essential components for an understanding of the interface of habitat and the rich and multisensory experience of a perceiving subject. At a Berlin-based conference Synaesthesia and Kinaesthetics, scholars from various disciplines gathered to discuss these issues. In bringing together the outcome of these discussions, this book gives new insights into the key phenomena of sensory integration and synaesthetic experiences, it enriches the perspectives on sensually embedded interaction and its habituation, and it expands this interdisciplinary inquiry to questions about the cultures of sensory habitus. (shrink)

Although the idea that cognitive structure changes as we learn is welcome, a variety of mathematical structures are needed to model the neural and cognitive processes involved. A specific example of bodily-kinaesthetic intelligence is given, building on a formalism given elsewhere. As the structure of cognition changes, previous learning can become tacit, adding to the complexity of cognition and its modeling.

When Wittgenstein said psychology contains conceptual confusions and experimental results, one item he had in mind was the psycho-physiological theory of kinaesthesis, which offers an account of how we know limb movement and position. The aim of this essay is to develop and evaluate the objections to that theory which have been produced by Wittgenstein, Melden and Anscombe. That project involves specifying clearly what is involved in the theory, resolving various disagreements between the critics, showing the pattern of the objections, (...) and lastly evaluating the success of the case against the theory. That case amounts to the thesis that the kinaesthetic sensations we do have simply are not adequate to the evidential burden placed on them by the theory. Unless one thinks that they must constitute such evidence (the piece of conceptual confusion) no one would have thought that they do so. (shrink)

When Wittgenstein said psychology contains conceptual confusions and experimental results, one item he had in mind was the psycho-physiological theory of kinaesthesis, which offers an account of how we know limb movement and position. The aim of this essay is to develop and evaluate the objections to that theory which have been produced by Wittgenstein, Melden and Anscombe. That project involves specifying clearly what is involved in the theory, resolving various disagreements between the critics, showing the pattern of the objections, (...) and lastly evaluating the success of the case against the theory. That case amounts to the thesis that the kinaesthetic sensations we do have simply are not adequate to the evidential burden placed on them by the theory. Unless one thinks that they must constitute such evidence no one would have thought that they do so. (shrink)

When Wittgenstein said psychology contains conceptual confusions and experimental results, one item he had in mind was the psycho-physiological theory of kinaesthesis, which offers an account of how we know limb movement and position. The aim of this essay is to develop and evaluate the objections to that theory which have been produced by Wittgenstein, Melden and Anscombe. That project involves specifying clearly what is involved in the theory, resolving various disagreements between the critics, showing the pattern of the objections, (...) and lastly evaluating the success of the case against the theory. That case amounts to the thesis that the kinaesthetic sensations we do have simply are not adequate to the evidential burden placed on them by the theory. Unless one thinks that they must constitute such evidence (the piece of conceptual confusion) no one would have thought that they do so. (shrink)

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...) Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

This Husserlian transcendental-phenomenological investigation of interkinaesthetic affectivity first clarifies the sense of affectivity that is at stake here, then shows how Husserl’s distinctive approach to kinaesthetic experience provides evidential access to the interkinaesthetic field. After describing several structures of interkinaesthetic-affective experience, I indicate how a Husserlian critique of the presupposition that we are “psychophysical” entities might suggest a more inclusive approach to a biosocial plenum that includes all metabolic life.

This article tries to shed light on the multiple, but underrated pleasures of the heist film – a genre that has attracted numerous major directors from Jean-Pierre Melville and Stanley Kubrick to Michael Mann and Steven Soderbergh, but has received limited scholarly attention. I approach the genre from a, broadly, philosophical perspective and draw on thinkers such as Peter Sloterdijk, Georg Simmel, Paul Souriau and Bruno Latour to argue that their emphasis on (1) skillful action and kinaesthetic empathy, (2) smooth (...) transgression of boundaries and (3) well-functioning social collaboration and we-connection, the genre's best exemplars satisfy, in fictional and quasi-utopian form, a number of real-life desires. (shrink)

Car cultures have social, material and, above all, affective dimensions that are overlooked in current strategies to influence car-driving decisions. Car consumption is never simply about rational economic choices, but is as much about aesthetic, emotional and sensory responses to driving, as well as patterns of kinship, sociability, habitation and work. Through a close examination of the aesthetic and especially kinaesthetic dimensions of automobility, this article locates car cultures (and their associated feelings) within a broader physical/material relational setting that includes (...) both human bodies and car bodies, and the relations between them and the spaces through which they move (or fail to move). Drawing on both the phenomenology of car use and new approaches in the sociology of emotions, it is argued that everyday car cultures are implicated in a deep context of affective and embodied relations between people, machines and spaces of mobility and dwelling in which emotions and the senses play a key part – the emotional geographies of car use. Feelings for, of and within cars (‘automotive emotions’) come to be socially and culturally generated across three scales involved in the circulations and displacements performed by cars, roads and drivers: embodied sensibilities and kinaesthetic performances; familial and sociable practices of ‘caring’ through car use; and regional and national car cultures that form around particular systems of automobility. By showing how people feel about and in cars, and how the feel of different car cultures generates habitual forms of automobilized life and different dispositions towards driving, it is argued that we will be in a better position to re-evaluate the ethical dimensions of car consumption and the moral economies of car use. (shrink)

In this paper, first, I will focus on the divergent interpretations of two leading Sellars’ scholars, Willem deVries and James O’Shea, as regards Sellars’ view on the being of the normative. It will be suggested that this conflict between deVries’ and O’Shea’s viewpoints can be resolved by the provision of an account of what I shall call ‘ready-tohand’ normativity, which incorporates the insights of both deVries’ and O’Shea’s interpretive perspectives, while at the same time going beyond them. It shall be (...) further argued that the resulting ‘phenomenologically’ informed view of normativity, pointing as it does towards its ideal integration not only with practical action but also with perceptual experience, in the form of what I shall call ‘kinaesthetic’ normativity, can potentially pose problems to Sellars’ own view on the matter, and, in particular, to the way normativity can allegedly be ‘stereoscopically fused’ with the ultimate ontology of the ideal scientific image. However, I shall argue that these problems are not unsurpassable: although the possibility of a specifically ‘kinaesthetic’ form of normativity seems to have eluded Sellars’ grasp, his views about the way in which the productive imagination is implicated in perceptual experience, do indeed provide the conceptual resources that make possible the stereoscopic fusion of this kind of normativity with the ontology of the ideal scientific image. (shrink)

A great deal of effort has been, and continues to be, devoted to developing consciousness artificially (A small selection of the many authors writing in this area includes: Cotterill (J Conscious Stud 2:290–311, 1995 , 1998 ), Haikonen ( 2003 ), Aleksander and Dunmall (J Conscious Stud 10:7–18, 2003 ), Sloman ( 2004 , 2005 ), Aleksander ( 2005 ), Holland and Knight ( 2006 ), and Chella and Manzotti ( 2007 )), and yet a similar amount of effort has (...) gone in to demonstrating the infeasibility of the whole enterprise (Most notably: Dreyfus ( 1972/1979 , 1992 , 1998 ), Searle ( 1980 ), Harnad (J Conscious Stud 10:67–75, 2003 ), and Sternberg ( 2007 ), but there are a great many others). My concern in this paper is to steer some navigable channel between the two positions, laying out the necessary pre-conditions for consciousness in an artificial system, and concentrating on what needs to hold for the system to perform as a human being or other phenomenally conscious agent in an intersubjectively-demanding social and moral environment. By adopting a thick notion of embodiment—one that is bound up with the concepts of the lived body and autopoiesis (Maturana and Varela 1980 ; Varela et al. 2003 ; and Ziemke 2003 , 2007a , J Conscious Stud 14(7):167–179, 2007b )—I will argue that machine phenomenology is only possible within an embodied distributed system that possesses a richly affective musculature and a nervous system such that it can, through action and repetition, develop its tactile-kinaesthetic memory, individual kinaesthetic melodies pertaining to habitual practices, and an anticipatory enactive kinaesthetic imagination. Without these capacities the system would remain unconscious, unaware of itself embodied within a world. Finally, and following on from Damasio’s ( 1991 , 1994 , 1999 , 2003 ) claims for the necessity of pre-reflective conscious, emotional, bodily responses for the development of an organism’s core and extended consciousness, I will argue that without these capacities any agent would be incapable of developing the sorts of somatic markers or saliency tags that enable affective reactions, and which are indispensable for effective decision-making and subsequent survival. My position, as presented here, remains agnostic about whether or not the creation of artificial consciousness is an attainable goal. (shrink)

For Husserl, kinaesthetic capability is a key piece of the process of perception. By ensuring the junction between the actual and the potential, it allows the exhibition of an object that is always more than what appears. Kinaesthetic capability preserves the transcendence of the object by preventing the phenomenon from being confined to pure actuality. This idea, however, poses significant challenges when one questions the nature of the possibilities that are at stake here. Especially, the perceived seems to enjoy a (...) kind of emancipation from these capabilities as they actually are. How can one justify that the structures of the perceived world are the intentional correlate of the kinaesthetic skills of the subject if such structures continue to regulate the sense of the appearing objects when those skills are neutralized? We will see that only a genetic perspective, assuming the intrinsically historical character of the subject, provides a satisfactory answer to this question, and that this perspective leads to placing into question the actualist position that Husserl sometimes tends to adopt. (shrink)

The case for inquiry -- The case for Deweyan inquiry -- An account of general inquiry -- Inquiry in science education -- Inquiry in social science education -- Inquiry in art and art education -- Inquiry, embodiment, and kinaesthetics in education -- Conclusion.

The relationship between music and dance can sometimes be a ‘match’, a remarkable fit between the audible manifestation that music is and the visual or kinaesthetic manifestation that dance is. A match between two things seems to require a common measure with respect to which the match obtains. What can this be for two so different phenomena as music and dance? I argue that the most promising answer is: movement. This answer will not be satisfactory unless the movement of music (...) and the movement of dance are the same on some level. I suggest that they are: there are qualities of movement that guide both dancers and musicians when producing dance and music as perceptible phenomena. But the match in qualities is elusive, since the qualities are instantiated in different ways in music and dance, respectively. (shrink)

Action is a means of acquiring perceptual information about the environment. Turning around, for example, alters your spatial relations to surrounding objects and, hence, which of their properties you visually perceive. Moving your hand over an object’s surface enables you to feel its shape, temperature, and texture. Sniffing and walking around a room enables you to track down the source of an unpleasant smell. Active or passive movements of the body can also generate useful sources of perceptual information (Gibson 1966, (...) 1979). The pattern of optic flow in the retinal image produced by forward locomotion, for example, contains information about the direction in which you are heading, while motion parallax is a “cue” used by the visual system to estimate the relative distances of objects in your field of view. In these uncontroversial ways and others, perception is instrumentally dependent on action. According to an explanatory framework that Susan Hurley (1998) dubs the “Input-Output Picture”, the dependence of perception on action is purely instrumental: "Movement can alter sensory inputs and so result in different perceptions… changes in output are merely a means to changes in input, on which perception depends directly" (1998: 342). -/- The action-based theories of perception, reviewed in this entry, challenge the Input-Output Picture. They maintain that perception can also depend in a noninstrumental or constitutive way on action (or, more generally, on capacities for object-directed motor control). This position has taken many different forms in the history of philosophy and psychology. Most action-based theories of perception in the last 300 years, however, have looked to action in order to explain how vision, in particular, acquires either all or some of its spatial representational content. Accordingly, these are the theories on which we shall focus here. -/- We begin in Section 1 by discussing George Berkeley’s Towards a New Theory of Vision (1709), the historical locus classicus of action-based theories of perception, and one of the most influential texts on vision ever written. Berkeley argues that the basic or “proper” deliverance of vision is not an arrangement of voluminous objects in three-dimensional space, but rather a two-dimensional manifold of light and color. We then turn to a discussion of Lotze, Helmholtz, and the local sign doctrine. The “local signs” were felt cues for the mind to know what sort of spatial content to imbue visual experience with. For Lotze, these cues were “inflowing” kinaesthetic feelings that result from actually moving the eyes, while, for Helmholtz, they were “outflowing” motor commands sent to move the eyes. -/- In Section 2, we discuss sensorimotor contingency theories, which became prominent in the 20thcentury. These views maintain that an ability to predict the sensory consequences of self-initiated actions is necessary for perception. Among the motivations for this family of theories is the problem of visual direction constancy—why do objects appear to be stationary even though the locations on the retina to which they reflect light change with every eye movement?—as well as experiments on adaptation to optical rearrangement devices (ORDs) and sensory substitution. -/- Section 3 examines two other important 20th century theories. According to what we shall call the motor component theory, efference copies generated in the oculomotor system and/or proprioceptive feedback from eye-movements are used together with incoming sensory inputs to determine the spatial attributes of perceived objects. Efferent readiness theories, by contrast, look to the particular ways in which perceptual states prepare the observer to move and act in relation to the environment. The modest readiness theory, as we shall call it, claims that the way an object’s spatial attributes are represented in visual experience can be modulated by one or another form of covert action planning. The bold readiness theory argues for the stronger claim that perception just is covert readiness for action. -/- In Section 4, we move to the disposition theory, most influentially articulated by Gareth Evans (1982, 1985), but more recently defended by Rick Grush (2000, 2007). Evans’ theory is, at its core, very similar to the bold efferent readiness theory. There are some notable differences, though. Evans’ account is more finely articulated in some philosophical respects. It also does not posit a reduction of perception to behavioral dispositions, but rather posits that certain complicated relations between perceptual input and behavioral provide spatial content. Grush proposes a very specific theory that is like Evans’ in that it does not posit a reduction, but unlike Evans’ view, does not put behavioral dispositions and sensory input on an undifferentiated footing. (shrink)

In this essay I to do three things. First, I discuss a statement from the Tractatus which says that our free will consists in our ignorance of future actions: “The freedom of the will consists in the impossibility of knowing actions that still lie in the future. We could know them only if causality were an inner necessity like that of logical inference.” (5.1362) I think this statement might well be inspired by a claim Moore made in connection with free (...) will in his 1912 book Ethics: “We can hardly ever know for certain beforehand, which choice we actually shall make”. But I think Moore’s claim in favor of free will is not convincing. Second, I discuss a question raised in Philosophical Investigations. Wittgenstein asks what remains if we “subtract” the fact that my arm goes up from the fact that I raise my arm, and he adds in brackets: “Are the kinaesthetic sensations my willing?” (621) This added reflection is a reaction to ideas put forward by William James. Wittgenstein opposes these ideas. He argues that we should not think of the will as a cause at all, kinaesthetic or not, but rather as something embedded in, and constituted by, certain contexts of learning, expectation, practice, and lack of surprise. This is a strong claim. He also returns to the question about the predictability of the future: “When people talk about the possibility of foreknowledge of the future they always forget the fact of the prediction of one’s own voluntary movements” (629). The question is whether Wittgenstein has solved, or dissolved, the problem of free will. Some think that this is the case. I doubt it is. This is the third point I wish to discuss. (shrink)

En contraste con algunas concepciones muy difundidas acerca de la razón, los análisis de Husserl subrayan tanto sus múltiples maneras de darse, es decir, su multidimensionalidad, como su entrelazamiento con la vida, lo que significa que la razón está arraigada en la vida y la vida es racional desde sus raíces. La multidimensionalidad da cuenta de sus diferenciables aspectos teoréticos, prácticos y afectivo-valorativos, mientras que el arraigo se refiere al anclaje de esos aspectos en la experiencia “anónima” que es “previa” (...) al pensamiento. Esto significa que la experiencia es racional en la medida que despliega una estructura constitutiva interna organizada en un sistema de niveles y estratos mediante los cuales se orienta hacia la racionalidad activa. Siguiendo las líneas de una articulación tripartita de la reflexión fenomenológica en los niveles estático, genético y mundovital, este trabajo procura mostrar que tales análisis, junto con este apuntar a una teleología implícita que exige una continuidad entre la vida y la razón, ponen de manifiesto el papel necesario que juega el cuerpo animado en este arraigo. La razón está arraigada en la vida por medio de la experiencia corporal en virtud de la función de “puente” que posee el cuerpo en su condición de cosa material y “órgano” estratificado del sentir y el mover del yo. Así la razón teórica está relacionada con los estratos de la sensibilidad y la cinestesia, la razón práctica se vincula con los estratos cinestésicos y volitivos, y la razón axiológica se asocia con el doble estrato de afección y sentir que subyacen y motivan la valoración. La constitución adopta nuevas formas en el tránsito de la egología a la intersubjetividad y a la experiencia completa mundovital, mientras que el arraigo puede ser ilustrado adicionalmente con el caso de la Tierra como suelo para la experiencia corporal.In contrast with widespread reductionistic conceptions of reason, Husserl’s analyses stress both its multifarious manners of givenness, i.e. its multidimensionality, and its intertwining with life, such that reason is rooted in life and life is rational from its roots. Multidimensionality accounts for distinguishable theoretical, practical and affective-valuing aspects of reason, while rootedness refers to the anchoring of these aspects in ‘anonymous’ experience ‘prior’ to thinking. This means that experience is rational insofar as it displays an inner constitutive structure organized as a system of levels and strata, by means of which it points to active rationality. Following the lines of a threefold articulation of phenomenological reflection in static, genetic and life-wordly levels, this paper aims to show that, together with this pointing to an implicit teleology, which calls for a continuity between life and reason, such analyses also unveil the necessary role played by the Body in this rootedness. Reason is rooted in life by means of Bodily experience, in virtue of the ‘bridging’ function of the Body as a material thing and as the stratified ‘organ’ of the Ego’s sensing and moving. Thus theoretical reason is related to the strata of sensibility and kinaesthesia, practical reason is related to the kinaesthetical and volitional strata, and axiological reason is related to the twofold strata of affection and feeling, which underlie and motivate valuation. This constitution takes on new forms in the transit from egology to intersubjectivity and to the full-fledged life-worldly experience, whereas rootedness can be further illustrated with the case of the Earth as basis-place for Bodily experience. (shrink)

In a phenomenology of acting, Phillip Zarrilliconsiders acting as a 'question' to be explored in the studio, and then reflected upon. This book is a vital response to Jerzy Grotowski's essential question: "How does the actor 'touch that which is untouchable?'" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinaesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and performances (...) from Beckett to newly co-created performances to realism, it provides an account of how we 'do' or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting, and how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting thatis ideal for both the training/rehearsal studio and research, a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice. n reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting thatis ideal for both the training/rehearsal studio and research, a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice. (shrink)

This article describes and refines an experiential distinction which has been highlighted by neuro-linguistic programming (NLP), perceptual positions. When you are imagining a past or future scene, you may perceive it (usually pre-reflectively) from three different viewpoints or perceptual positions. If you are looking at the world from your own point of view, through your own eyes, you are in the first perceptual position. If you are looking at the scene through another person's eyes, appreciating the other person's point of (...) view, you are in the second position. If you are seeing the world from an outside point of view, as an independent observer, you are in the third position. NLP highlighted the fact that our feelings change dramatically according to the perceptual position we adopt. Through a concrete example, Connirae Andreas shows that this distinction does not only concern visual perceptions, but also auditory and kinaesthetic perceptions. She also shows that our visual, auditory and kinaesthetic perceptions may be split in different perceptual positions at the same time, and that this misalignment may cause difficulties. Learning to 'align' our perceptual positions brings us greater wholeness, enables us to become more integrated. (shrink)

This paper explores the nature of ourexperiences of values– ourvalueceptions. In the recent literature, two main standpoints have emerged. On the one hand, the ‘Meinongian’ side claims that axiological properties are experienced exclusively in emotions. On the other hand, the ‘Hildebrandian’ side contends that since valueceptions can be ‘cold’, they are not accomplished in emotions but rather reside in ‘value-feelings’ – emotions, in this framework, being conceived of asreactionsto the values thus revealed. The aim of the paper is to argue (...) that theHusserlianphenomenology of affectivity, especially as it is developed during his Göttingen period, can help to overcome these two accounts. I start by pointing out that, contrary to what most scholars have assumed so far, Husserl’s theory of valueception is not tantamount to Meinong’s, as it is very sensitive to ‘Hildebrandian’ arguments (Part 2). The core of the paper is then devoted to a systematic reconstruction of Husserl’s solution to this controversy. Drawing on the analogy between thing-perceptions and value-perceptions (Part 3), I show, first, that ‘cold’ valueceptions are to be identified with empty apprehensions (Auffassungen) of value, in which an emotion is notactually experiencedbut isanticipatedin such-and-such kinaesthetic circumstances (Part 4); second, that the realization of this anticipation amounts to thefulfillmentof the valueception (Part 5). As a result, Husserl acknowledges the relevance of ‘value-feelings’, yet his account appears more satisfactory than traditional ‘Hildebrandian’ theories in that it demystifies these ‘value-feelings’ by reducing them topotential emotions. (shrink)

This is a 2020 revision of my 1988 dissertation "The Choreography of the Soul" with a new Foreword, a new Conclusion, a substantially revised Preface and Introduction, and many improvements to the body of the work. However, the thesis remains the same. A theory of consciousness and trance states--including psychedelic experience--is developed. Consciousness can be analyzed into two distinct but generally interrelated systems, which I call System X and System Y. System X is the emotional-visceral-kinaesthetic body. System X is a (...) harmonic system of "endokinetic" (internal bodily) and "ectokinetic" (emotionally expressive) movement. System Y is a "teleokinetic" (goal directed) system that includes language, cognition, perception, voluntary motor control, manipulation of the environment, etc. Contrary to theories of consciousness prevalent in the Western philosophical traditions that begin with Plato, I argue that System Y is secondary to and dependent upon System X, not the reverse. In building my thesis I draw upon the work of Friedrich Nietzsche, psychoanalysis, Jungian depth psychology, political anthropology, modern neuroscience, Pythagorean music theory, and the mathematical theory of harmonic systems. (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)

Summary In this contribution, I discuss the perceptual potential of certain genres of experimental and contemporary music, commonly grouped under the label “sound-based music”. The sonic patterns typical of this music are mostly associated, during listening, with visual and tactile sensory qualities and can evoke mental representations as shapes in motion. These are the result of physical-acoustic energies organized according to a perceptual grammar whose organization follows a series of Gestalt and kinaesthetic principles. The paper explores the nature of the (...) relationship between sound patterns of sound-based music and their mental images. Based on morphodynamic theory, it is proposed the emergence of cognitive image schemas, which are at the centre of this relationship. The image schemas depict the forces and tensions of our experience of the world (e.g., figure-background, near-far, superimposition, compulsion, blockage), as being the cognitive and experiential response to the incoming sound patterns. The sense of this music activates precisely the basic structures of sensorimotor experience by which we encounter a world that we can understand and act within, leading to a rich series of high-level associations and responses. (shrink)

Individuals often describe objects in their world in terms of perceptual dimensions that span a variety of modalities; the visual (e.g., brightness: dark–bright), the auditory (e.g., loudness: quiet–loud), the gustatory (e.g., taste: sour–sweet), the tactile (e.g., hardness: soft vs. hard) and the kinaesthetic (e.g., speed: slow–fast). We ask whether individuals use perceptual dimensions to differentiate emotions from one another. Participants in two studies (one where respondents reported on abstract emotion concepts and a second where they reported on specific emotion episodes) (...) rated the extent to which features anchoring 29 perceptual dimensions (e.g., temperature, texture and taste) are associated with 8 emotions (anger, fear, sadness, guilt, contentment, gratitude, pride and excitement). Results revealed that in both studies perceptual dimensions differentiate positive from negative emotions and high arousal from low arousal emotions. They also differentiate among emotions that are similar in arousal and valence (e.g., high arousal negative emotions such as anger and fear). Specific features that anchor particular perceptual dimensions (e.g., hot vs. cold) are also differentially associated with emotions. (shrink)

This article brings a phenomenological perspective to the question of how bodily and inter-bodily experience is involved in interacting via audio-visual media like videoconferencing platforms. Contemporary discussions in interaction studies point to a certain suspension of bodily involvement in these mediated interactions, which leads to a visible loss of function in the case of gestures. Such observations have led phenomenologists to voice concern as to whether phenomenology is indeed still suited to account for the “digital world” in general. The following (...) article addresses these concerns by first making the case for a phenomenological understanding of gestures, which develops Merleau-Ponty’s notion of intercorporeality by drawing from an intersubjective reading of Husserl’s threefold analysis of the body (aesthesiological, kinaesthetic and orientational). Subsequently, these reflections are used to describe the modifications, which occur when interacting “through” the screen in videoconferences, by showing that they are not just privative in nature. (shrink)

ArgumentThe new English term “empathy” was translated from the GermanEinfühlungin the first decade of the twentieth century by the psychologists James Ward at the University of Cambridge and Edward B. Titchener at Cornell. At Titchener's American laboratory, “empathy” was not a matter of understanding other minds, but rather a projection of imagined bodily movements and accompanying feelings into an object, a meaning that drew from its rich nineteenth-century aesthetic heritage. This rendering of “empathy” borrowed kinaesthetic meanings from German sources, but (...) extended beyond a contemplation of the beautiful to include a variety of experimental stimuli and everyday objects in the laboratory. According to Titchener's structural psychology, all higher thought could be reduced to more elemental aspects of mind, and experimental introspection showed empathy to be constituted of kinaesthetic images. The existence of kinaesthetic images, Titchener argued, formed an incisive critique of the view that thought could take place without images, held by one of Titchener's major psychological rivals, the school of thought-psychologists in Würzburg, Germany. The new term “empathy” in early American academic psychology therefore delineated a kinaesthetic imaginative projection that took place on the basis of ontological difference between minds and things. (shrink)

The paper is organized around two ideas that come out in Steve Crowell’s Normativity and Phenomenology in Husserl and Heidegger and that I discuss critically in turn. The first concerns the reach of Crowell’s claim according to which the connection between intentionality, meaning and normativity is necessary in all forms of intentional experience. I make my point by considering the case of imagining experiences, which are—I argue—meaningful, intentional, but not necessarily normative in any relevant sense. The second question is about (...) Crowell’s criticism of the role of bodily self-awareness in Husserl’s phenomenology of perception. While Crowell is right to maintain that the norm of proper functioning relevant to bodily skills can’t be understood as arising from a system of kinaesthetic sensations alone, I argue that bodily self-awareness still has a normative role to play in perception inasmuch as it allows me to cast my own experience in evaluative terms. (shrink)

In this article, I provide phenomenological reflections on patients’ experiences of undergoing extreme isolation protocols while admitted to Intensive Care Units [ICU] during the first wave of COVID-19. Based on observation studies from within the patient isolation rooms and retrospective, in-depth phenomenological interviews with patients, I characterize this exceptional experience as one of becoming anonymous. To illustrate this, I start by establishing a perspective on embodied existence as constituted on a scale between anonymous embodiment and being enrooted into a personal (...) niche. Against the backdrop of this framework, I illustrate how being admitted to the ICU under strict isolation protocols produced extraordinary experiences of becoming anonymous. Sources of the anonymization were: (1) Mechanical expropriation, pacification and disownership of the visceral-kinaesthetic body; (2) Objectification; (3) Spatial and intercorporeal anonymity (4) Surrealism: the intermingling of objective impressions and dream-like interpretations. Finally, I illustrate how anonymization induced an experience of embodiment as raw materiality, confronting the patient with what Martin Heidegger called the facticity of naked existence. This experience is discussed against Levinas’ critique of Heidegger, while I propose that insights from this exceptional case may substantiate Heidegger’s account. (shrink)

Background:The Taiwan Nursing Accreditation Council has proposed eight core professional nursing qualities including ethical literacy. Consequently, nursing ethics education is a required course for student nurses. These courses are intended to improve the ethical literacy. Moral sensitivity is the cornerstone of ethical literacy, and learning moral sensitivity is the initial step towards developing ethical literacy.Objectives:To explore the effect of nursing ethics educational interventions based on multiple teaching strategies on student nurses moral sensitivity. Based on the visual, auditory and kinaesthetic model, (...) three strategies were developed for determining the programme components and corresponding learning styles.Research design:This was a quasi-experimental study.Participants:A total of 234 junior-college student nurses participated in this study. All participants were aged 18–19 years.Ethical considerations:The study protocol was approved by the institutional review boards of Kaohsiung Veterans General Hospital. Only the participants who signed an informed consent form took part in the study. The participants were permitted to withdraw from the study at any point if they wished to do so without affecting their academic score.Results:The scores of Modified Moral Sensitivity Questionnaire for Student Nurses were significantly improved after the intervention of integrating multiple teaching strategies. Significant relationships were observed between the satisfaction scores of two teaching strategies and moral sensitivity. The results indicated that using multiple teaching strategies is effective for promoting nursing ethics learning.Conclusion:This strategy was consistent with the student nurses’ preferred learning style and was used to correct their erroneous ethical conceptions, assisting in developing their ethical knowledge. (shrink)

Animation is by definition the basis of animate life. Movement is thus of prime significance and its dynamics warrant close study in terms of the tactile-kinaesthetic body, its relation to cognition and affectivity, and its anchorage in ontogeny and phylogeny. Riveted attention on the brain deflects attention from animate movement, as does the degeneration of movement into a motorology and the extensive and broadly indiscriminate use of the lexical band-aid of embodiment and its derivatives. Critical attention is paid to just (...) such present-day practices in neuroscience, and in cognitive science and philosophy, practices that, by impeding investigations of the tactilekinaesthetic body, impede understandings of how kinaesthetic experience is at the core of those synergies of meaningful movement that constitute animate life. (shrink)

This article lays the ground for a sensuous appreciation of both the human body and the physical world. Drawing on the biographical account of the climber's embodied reflection of rock-climbing, the `climbing body' highlights our overwhelming tactile and kinaesthetic engagement with the phenomenal world. I Begin by emphasizing the need to consider the organic nature of human being, that we should understand how the awareness of death and our consequent sense of mutability provide a significant moment to remember the body. (...) I highlight how this might be achieved through the practice of adventure climbing. The increasing denial of the body's organicity, its mutability - perhaps a key impulse of modernity - is thereby usurped. This is followed by a structure of thought, based around the work of Georg Simmel, conveying the radical materiality of the phenomenal world. In doing so, I highlight the propensity of the environment to inscribe itself upon the human body. This idea is brought alive during the second half of the article, which focuses upon the climbing body and, in particular, the hands of the climber. As they navigate vertical ground climbers are guided by the sense of touch in order to `make sense' of the world. The climbing body orientates itself through tactile navigation: by feeling or grasp-ing its way through the world. To engage with the world tactually is to situate oneself consciously in that world and to have a potentially unmediated relationship with it. In doing so, the climber opens up the possibility for a corporeal reconceptualization of modernity. (shrink)

Dance as a complex human activity is a rich test case for exploring perception in action. In this article, we explore a 4E approach to perception/action in dance, focussing on the intersubjective and ecological aspects of kinaesthetic attunement and their capacity to expand empathic and perceptive experience. We examine the question: what are the ways in which the performance ecology co-created in different dance practices influences empathic and perceptive experience? We adopt an enactive ethnographic and phenomenological approach to explore two (...) distinct dance forms: Contact Improvisation [CI], a duet-system based practice aimed at fostering interkinaesthetic awareness and challenging habits of movement; and Body Weather [BW], an anti-hierarchical movement practice sensitive to the surrounding environment. We argue that through intersubjective kinaesthetic attunement, CI scaffolds the development of perceptive awareness of subtle shifts within ourselves and others, allowing the cultivation of a capacity for flexibly traversing between conscious initiation of action, attuned responding, and the intersection between them. Similarly, we investigate the expansion of perceptive experience through kinaesthetic attunement in BW. We suggest that the capacity for empathy is enhanced in BW through drawing attention to, and perception of, the fullness of a place in a way that we do not typically experience. By focussing on the variations in which embodied perceptual skills are enacted in specific dance forms and the expansion of perceptive experience through kinaesthetic attunement, we stress the potential of the performing arts to cultivate and create new ways of empathic engagement with the world in which we find ourselves. (shrink)

I argue that Husserl’s manuscripts on intersubjectivity discover a decisive role for self-movement in the constitution of the shared world. I explore two complementary constitutive functions. The first enables empathetic apperception by closing the divergence in sense between the original ego, which does not find itself at a location, and the alter ego, which is found over there. By traversing distances with its organically articulated Leibkörper, the original ego establishes an analogy between self-movement and thing-movement that guides the recognition of (...) another ego in space. The second accounts for the exchangeability of perspectives between differently located subjects. The restricted motility of the Leibkörper is discovered against the background of ideal but motivated possibilities of going to any distant perspective. These possibilities are rooted in the purely kinaesthetic potential of the Leib. To inhabit another perspective need not involve changing the world. This evidence underlies the Weltanschauung according to which what appears from the other’s perspective is a possible appearance for me. Taken together, these two constitutive functions show how self-movement discloses a definite but accidental location from which the ego shares the world. (shrink)