The intention of this article is to make an educational analysis of Merleau-Ponty’s theory of experience in order to see what it implicates for educational practice as well as educational research. In this way, we can attain an understanding what embodied experience might mean both in schools and other educational settings and in researching educational activities. The analysis will take its point of departure in Merleau-Ponty’s analysis and criticism of empiricist and neokantian theories of experience. This (...) will be followed up by an introduction of some central concepts in Merleau-Ponty’s own understanding of experience with emphasis on their relevance for educational analysis. This way of presenting the theory of embodied experience has the advantage of being able to indicate the difference it makes in the field of theories of experience. (shrink)

One of the most pressing and debated issues in contemporary sport is the inclusion of transgender athletes in competition. This is especially the case of transgender women who seek to compete in th...

As artificial intelligence (AI) becomes progressively more engaged with society, its shift from technical tool to participating in society raises questions about AI personhood. Drawing upon developmental psychology and systems theory, a mediating structure for AI proto-personhood is defined analogous to an early stage of human development. The proposed AI bridges technical, psychological, and theological perspectives on near-future AI and is structured by its hardware, software, computational, and sociotechnical systems through which it experiences its world as embodied (even for (...) putatively disembodied AI). Further social and moral construction can occur building upon a simple “self” for AI synthesized from symbolic and statistical approaches to AI. (shrink)

This article investigates the ways in which individuals assume two distinct viewpoints in both speech and gesture - both simultaneously and sequentially - when they represent the uncertain knowledge that characterizes risk. In the mimetic viewpoint, individuals represent events as characters in their own narrative or mimic the character viewpoint of an Other. In the analytic viewpoint, individuals move outside of embodied experience to analyze events from a distance. As part of a larger study investigating viewpoint in discourses (...) of risk, this study suggests the important role of viewpoint in understanding individual accounts of risk. Together, speech and gesture provide a richer representation of risk than either speech or gesture alone. But viewpoints represented in gesture may be rendered invisible in written accident reports and investigations. This study suggests that individual accounts of risk ultimately reflect highly local sensory experiences that are situated - literally and physically - by an individual's position in institutional and material sites. Within these institutions, individuals can access a range of analytic and mimetic viewpoints in both speech and gesture in order to represent their experiences. This research has important implications for rhetorical theory and risk and decision science. (shrink)

Here, we assess the usefulness of first-person methods for the study of embodiment during the rubber hand illusion (RHI). Participants observed a rubber hand being stroked synchronously and asynchronously with their concealed hand after which they made proprioceptive judgments about the location of their hand and completed a self-report questionnaire. A randomly selected cohort was further interviewed during the illusion and their transcripts analyzed using interpretative phenomenological analysis (IPA). Results showed that the IPA group experienced a more intense embodied (...) experience during the RHI, measured by proprioceptive distortion and self-report. IPA revealed four main themes of embodied experience: recalibration of the body schema; violation of the body schema; multisensory integration; and illusory experience over time. The report of agency was a significant predictor of proprioceptive distortion. This study shows how first-person methodologies can be empirically rigorous and how the introspective interview provides a rich, detailed account of embodied experience. (shrink)

One of the main topics in philosophical work dealing with physical education is if and how the subject can justify its educational value. Acquisition of practical knowledge in the form of skills and the provision of positive and meaningful embodied experiences are central to the justification of physical education. The purpose of this article is to explore the relationship between skill and embodied experience in physical education through the notion and concept of habit. The literature on phenomenology (...) of skill acquisition is first considered. In particular, we draw on Merleau-Ponty’s notion of habit. Further, we introduce pragmatist philosophy and in particular the work of John Dewey as a useful complement to the phenomenological perspective. It is in particular Dewey’s emphasis on habits, experience and education that are found to be useful in our exploration of the relationship between the two justifications under consideration, because it allows us to point out the importance of habits of att... (shrink)

In this article, we scrutinize views that justify exclusionary policies regarding transgender athletes based primarily on physiological criteria. We introduce and examine some elements that deserve...

This article offers an analysis of embodied experiences and connections in social salsa dancing. Framed within a theoretical context that views bodily practices as both the enactment of normative ideals and as a negotiation of personal freedom against normative ideals, social salsa dancing offers a rich empirical context to explore how we make sense of our bodies, bodily practices, and embodied experience. Drawing on fieldwork conducted as part of a doctoral study in addition to a decade of (...) personal experience, I argue that social salsa dancing cultivates kinesthetic, tactile, and musical senses, and emphasizes the value of attentive embodied interactions and momentary connections with others. I conclude that exploring the possibilities of these interactions and connections offers a potentially emancipatory way of working on one’s embodied self. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning Music:Embodied Experience in the Life-WorldEva Alerby and Cecilia FermIn the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many (...) different ways. Our intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach.By life-world approach we mean that learning is constituted by the experiences that we are having in the world. From that perspective it can be seen as a process which leads to some kind of change, whose utmost purpose is—consciously or unconsciously—to create meaning and make managing the world possible. In addition, we stress that learning does not arise nor is formed in a vacuum, but instead is found in complex contexts. In turn this creates the necessity of making learning situated and contextualized.1How one understands how music is learned is consequently influenced not only by what fundamental assumptions one holds about learning but also by prevailing views of music. Furthermore, how musical ability is regarded and whether musicality is accepted as an emotional or cognitive phenomenon is also [End Page 177] important. Other assumptions that need to be considered are whether or not it is possible to divide musicality into smaller parts and if that is the case, what is the relationship between these parts. One further question that has to be illuminated is the question about biological and social influences on musicality.2 According to Sture Brändström,3 musicality is sometimes divided into two categories—absolute contra relativistic musicality. The first category implies that musicality is regarded as a native ability, already existing within the human being, an ability that some people have and others lack. The second category reflects an approach that assumes that musicality is something everybody can acquire, it can be learned and appropriated. We will return later to this issue.These questions reveal a dualistic approach, specifically: whether musicality is an emotional or a cognitive phenomenon, or absolute or relative, which in turn leads to the question of whether or not learning music is constituted within or outside the human being. To expose problems related to this dualistic approach in music education, we will examine musical learning using life-world phenomenology as a theoretical framework, a brief description of which follows.Phenomenology: A Way of ThinkingAt the turn into the twentieth century, the German philosopher, Edmund Husserl (1859-1938), named his philosophical approach phenomenology, and with that the development of modern phenomenology began. Phenomenology is both a method and a way of thought.4 He distinguished the fundamental principle of phenomenology as—'back to the things themselves.' According to Husserl it is through experiences that we gain access to things themselves. The concept of experience was essential to his formulation, and it became a key signature for the whole of phenomenology. His starting-point was how the world is experienced in a subjective way, and the aim was to find a way to describe the meaning of these subjective experiences. In other words, phenomenology has been summarized as a description of how the world is experienced by the person in the world.Various thinkers have interpreted phenomenology in different ways. Jan Bengtsson5 emphasized that phenomenological method should be named in the plural as methods. The phenomenology of the life-world, which was developed as an alternative to the so-called epoché, the special method of transcendental phenomenology, is a philosophy of the life-world without transcendental reduction. It is the life-world that constitutes the basis of our lives. It is the everyday world of our experiences, which we take for granted and where we live our lives. In other words it is the life-world that constitutes people's being-in-the-world.6 Through our existence we experience the concrete world in all its complexity, which is both historically and contextually dependent. Consequently... (shrink)

In this article I discuss the problem of embodied subjectivity, viewed from the perspective of spatiality. The questions I address arise from my ethnographic study on chronic pain. My main argument is that, in contrast to philosophical understanding of space as an a priori, or as a container, space and spatiality are shaped and reshaped through the body in pain. What characterizes most patients' experiences of space is movement. This can be understood through Merleau-Ponty's phenomenological theory of the lived (...) body but needs in addition a cultural contextualization. Because of biomedical thinking, in Western settings chronic pain is liminal. It does not fit the biomedical categories of disease or space. This profoundly shapes patients' understanding of their subjectivity as homeless, and their experience of spatiality as estranged and exiled. (shrink)

Sexual violence of various forms, be it sexual harassment or sexual abuse, perpetrated by male professors against their female students has gained societal visibility through media broadcasts. This article tells the tale of the 2013 recruitment to the University of Iceland of a former political party leader, minister and ambassador. He was publicly called out in 2012 for his alleged sexual offences, perpetrated some years earlier. The story is told from two different viewpoints: from that of the media and from (...) the article author’s own standpoint as assistant professor in gender studies with co-responsibility for his de-recruitment. In the media story, opinion leaders from the political, judicial and media spheres take centre stage. The author thus utilizes the concepts patriarchal homosociality and influencers. Based on the findings from the media analyses, the author lays out her defence and justification, using embodiment as the core of her argument. She draws on black feminist knowledge validation processes, more specifically, the ethic of caring and personal accountability. Furthermore, she explores affective feminist pedagogy, i.e. connecting mind and body through self-actualization. By contrasting the two accounts, that of the media and her own feminist standpoint, the author sheds light on the role that influencers play in preserving patriarchal power and the status quo against ‘fire-raising feminists’ in academia and society at large. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning Music:Embodied Experience in the Life-WorldEva Alerby and Cecilia FermIn the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many (...) different ways. Our intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach.By life-world approach we mean that learning is constituted by the experiences that we are having in the world. From that perspective it can be seen as a process which leads to some kind of change, whose utmost purpose is—consciously or unconsciously—to create meaning and make managing the world possible. In addition, we stress that learning does not arise nor is formed in a vacuum, but instead is found in complex contexts. In turn this creates the necessity of making learning situated and contextualized.1How one understands how music is learned is consequently influenced not only by what fundamental assumptions one holds about learning but also by prevailing views of music. Furthermore, how musical ability is regarded and whether musicality is accepted as an emotional or cognitive phenomenon is also [End Page 177] important. Other assumptions that need to be considered are whether or not it is possible to divide musicality into smaller parts and if that is the case, what is the relationship between these parts. One further question that has to be illuminated is the question about biological and social influences on musicality.2 According to Sture Brändström,3 musicality is sometimes divided into two categories—absolute contra relativistic musicality. The first category implies that musicality is regarded as a native ability, already existing within the human being, an ability that some people have and others lack. The second category reflects an approach that assumes that musicality is something everybody can acquire, it can be learned and appropriated. We will return later to this issue.These questions reveal a dualistic approach, specifically: whether musicality is an emotional or a cognitive phenomenon, or absolute or relative, which in turn leads to the question of whether or not learning music is constituted within or outside the human being. To expose problems related to this dualistic approach in music education, we will examine musical learning using life-world phenomenology as a theoretical framework, a brief description of which follows.Phenomenology: A Way of ThinkingAt the turn into the twentieth century, the German philosopher, Edmund Husserl (1859-1938), named his philosophical approach phenomenology, and with that the development of modern phenomenology began. Phenomenology is both a method and a way of thought.4 He distinguished the fundamental principle of phenomenology as—'back to the things themselves.' According to Husserl it is through experiences that we gain access to things themselves. The concept of experience was essential to his formulation, and it became a key signature for the whole of phenomenology. His starting-point was how the world is experienced in a subjective way, and the aim was to find a way to describe the meaning of these subjective experiences. In other words, phenomenology has been summarized as a description of how the world is experienced by the person in the world.Various thinkers have interpreted phenomenology in different ways. Jan Bengtsson5 emphasized that phenomenological method should be named in the plural as methods. The phenomenology of the life-world, which was developed as an alternative to the so-called epoché, the special method of transcendental phenomenology, is a philosophy of the life-world without transcendental reduction. It is the life-world that constitutes the basis of our lives. It is the everyday world of our experiences, which we take for granted and where we live our lives. In other words it is the life-world that constitutes people's being-in-the-world.6 Through our existence we experience the concrete world in all its complexity, which is both historically and contextually dependent. Consequently... (shrink)

The Body Claim states that a transcendental condition of self-consciousness is that one experience oneself as embodied. The contention of this thesis is that popular arguments in support of the Body Claim are unconvincing. Understanding the Body Claim requires us to have a clear understanding of both self-consciousness and embodied experience. In the first chapter I lay out two different conceptions of self-consciousness, arguing that the proponent of the Body Claim should think of self-consciousness as first-person (...) thought. I point out that since arguments for the Body Claim tend to proceed by stating putative transcendental conditions on self-reference, the proponent of the Body Claim must maintain that there is a conceptual connection between self-consciousness and self-reference. In the second chapter I argue against views, originating from Wittgenstein and Anscombe, which reject this connection between self-consciousness and self-reference. In chapter three I show that a well known principle governing the ascription of content, that which Evans calls ‘Russell’s Principle’, occupies an ambiguous position with regards to the Body Claim. I argue that Russell’s Principle should be rejected. Chapter four distinguishes between two conceptions of embodied experience: bodily-awareness and bodily self-awareness. I argue that there is no such thing as bodily self-awareness and so it cannot be a transcendental condition of self-consciousness. Chapter five looks at, and finds wanting, arguments for the Body Claim that can be found in the work of Strawson. Chapter six argues that it is a transcendental condition of self-consciousness that one enjoy spatial experience. Chapters seven and eight assess two influential arguments that attempt to complete a defence of the Body Claim: the solidity argument and the action argument. I argue that neither argument is convincing. Although the conclusions are primarily negative, much is learned along the way about the nature of both self-consciousness and embodied experience. (shrink)

This article ethnographically considers the experiences of Australian young people who were born deaf and who hear and listen through cochlear implants to explore the intersection between the sensory body, lived experience and technology. The article draws on phenomenology to examine how experiences of deafness are productive in analysing articulations of embodiment and the meanings embedded in a body that is valued as both deaf and hearing. Leaving aside binary conceptions of deaf versus hearing, and understandings of the cochlear (...) implant as a remedy for sensory deficits, we instead make a case for nuanced understandings of the device and embodied experiences through technology. This analysis identifies how a cochlear implanted body navigates connections to the world and to others in turning on and off engagement. We contend that the device has an intrinsic value for recipients through enabling their access to hearing while not removing their experiences of deafness. (shrink)

This journal's well-intentioned consideration of the arts has turned out to be quite the Pandora's box. As soon as we broach the subject of aesthetics, we are already in the realm of ideology; as soon as we impose the frame of scientific inquiry upon any subject, we invoke another kind of ideology. The previous issues in this series have depicted the unfolding of an ideological clash of cultures between sciences and the humanities, enough to make C.P. Snow blush. For the (...) time being, this is an unavoidable condition; yet the more we remain aware of it, the further we may push our insights. (shrink)

This article explores the role of limit experiences (Tracy) and linguistic relativity (Whorf) in shaping our ontological and epistemological understandings of the world. Specifically, I trace the transformations in embodied understanding I have undergone in three situations across my life course–in Hawai'i, Solomon Islands, and as an acutely ill and disabled patient in a live-in clinic in Dallas, Texas. I give examples of how our perceptions, conceptions, and proprioceptions are positioned, constrained, opened to interpretation, and even denied by our (...) culture and language. Limit experiences, however, open the possibility for transformation of understanding and recognition that there are probably infinite manifest and unmanifest realities. (shrink)

The text first briefly summarizes the contents of Annik Waldow's book and then attempts to highlight the diverse meanings of the concept of bodily experience in eighteenth-century philosophy, especially in the philosophy of David Hume. After a brief distinction between subjective and objective bodily experience in Descartes, I point to six different meanings of this concept in David Hume's Treatise of Human Nature. One of these notions, the body as a center of reference, turns out to be important (...) for interpreting the meaning of Hume's notion of the general point of view and of moral judgment of character. In connection with this, I conclude by providing two somewhat different readings of Hume's example of judging Marc Brutus's character from T 3. 3. 1. 16, which works with finding the optimal point of view that implies the bodily form of our experience. (shrink)

In a context of pervasive digitalization of the social world, both before and during the COVID-19 pandemic, the field of education has undergone major changes with the development of digital practices and settings. However, the physical presence of the subjects and the body remain something primordial and irreplaceable in traditional educational processes. Thus, it is often assumed that virtuality is opposed to the corporeal reality of the subjects involved in teaching, learning and studying. In this paper we aim to critically (...) challenge this assumption by addressing the phenomenon of virtuality in a more original sense: as a fundamental dimension of corporeality itself. Drawing on Merleau-Ponty’s phenomenological insights, we argue that the experience of the virtual is inherently embodied and fully real. We understand corporeality and virtuality as entangled and multidimensional phenomena. At the same time, this leads us to rethink the digital as only one possible medium in which virtuality can appear as inherent to embodied experience. We develop our phenomenological approach in three instances. First, we question and bracket two common assumptions about corporeality. From our critical perspective, assumptions about a disembodied digitality and a devirtualized corporeality represent extremes within which educational discourses currently move. Second, we address the inherent virtuality of embodied experience. We outline the heuristic concept of the virtual body to describe corporeality and virtuality as entangled and multidimensional phenomena that encompass extension, intercorporeality and intermediality. Finally, we make some remarks on the relationships of corporeality and virtuality considering the challenges of digital education. (shrink)

This article is both an elaborated critique on the one-sided analysis of the misogynist nature of ballet as a cultural practice, and a contribution to a more embodied feminist theory. Based on empirical material, that was brought together by observing the body practices in ballet and listening to the life stories of dancers, the author explores the contradictions that the body in ballet provokes. In describing the embodied experiences ofprofessional ballet dancers she shows that ballet offers women the (...) possibility to transcend the discontinuity of body, mind and emotions. (shrink)

What significance does the body have in the process of teaching and learning? In what way can the thoughts of a contemporary junior-level teacher in this regard be connected to the theory of the lived body formulated by the French phenomenologist philosopher Maurice Merleau-Ponty (1908-1961), and vice versa? The aim of this paper is to illuminate, enable understanding and discuss the meaning of the body in the learning process, with specific focus on the learning of writing as embodied (...) class='Hi'>experience. In the process, the boundaries of learning are also explored. While understanding the significance both of learning as embodied experience and of the boundaries of learning is essential within the educational field, in this paper the discussion is limited to exploring how learning as embodied experience and the boundaries of learning can be viewed by taking Merleau-Ponty's notions as theoretical starting points. In an attempt to answer the aim and connect the paper's theoretical point of departure with a voice from a teacher, an interview with a junior-level teacher was conducted. The paper thus offers a theoretical contribution to the field of educational research, but one in which the theory is exemplified by, and connected to, a teacher's voice. Accordingly, the paper concludes by summarising the common understandings of learning held theoretically by Merleau-Ponty and made real in the activities of the contemporary junior-level teacher. (shrink)

What significance does the body have in the process of teaching and learning? In what way can the thoughts of a contemporary junior-level teacher in this regard be connected to the theory of the lived body formulated by the French phenomenologist philosopher Maurice Merleau-Ponty, and vice versa? The aim of this paper is to illuminate, enable understanding and discuss the meaning of the body in the learning process, with specific focus on the learning of writing as embodied experience. (...) In the process, the boundaries of learning are also explored. While understanding the significance both of learning as embodied experience and of the boundaries of learning is essential within the educational field, in this paper the discussion is limited to exploring how learning as embodied experience and the boundaries of learning can be viewed by taking Merleau-Ponty’s notions as theoretical starting points. In an attempt to answer the aim and connect the paper’s theoretical point of departure with a voice from a teacher, an interview with a junior-level teacher was conducted. The paper thus offers a theoretical contribution to the field of educational research, but one in which the theory is exemplified by, and connected to, a teacher’s voice. Accordingly, the paper concludes by summarising the common understandings of learning held theoretically by Merleau-Ponty and made real in the activities of the contemporary junior-level teacher. (shrink)

The Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience.

Drawing on John Dewey and the later Ludwig Wittgenstein, this book employs philosophy as a conceptual resource to develop new methodological and analytical tools for conducting in situ empirical investigations. Chapter one explores the philosophies of Wittgenstein and Dewey. Chapter two exposits Deweyan ideas of embodiment, the primacy of the aesthetic encounter, and aesthetically expressive meaning underdeveloped in Wittgenstein. Chapter three introduces the method of practical epistemological analysis and a model of situated epistemic relations to investigate the learning of body (...) techniques in dinghy sailing. The concluding chapter introduces a model of situated artistic relations to investigate the learning of artistic techniques of self-expression in the Swedish sloyd classroom. (shrink)

This article reports from the first studies on voluntary childlessness in Sweden and addresses a so far neglected issue – the embodied experiences of childfree women. These childfree women reject and resist pronatalist understandings that conflate being a woman with being a mother. However, instead of explaining their childlessness by external factors, mentioned in previous research, the interviewed women created a positive feminine identity separated from motherhood with reference to their ‘silent bodies’, i.e. bodies without a biological urge to (...) reproduce. Reducing voluntary childlessness to a mere result of biological determinism, the article argues, establishes a legitimate, natural position, less provocative and stigmatized in a pronatalist society. Nevertheless, paradoxically, drawing on biological determinism both challenges and reinstates pronatalism as it builds on the simultaneous acceptance of, and detachment from, the biological reproductive urge. The study hence highlights how persistent the social and cultural link between motherhood and womanhood is, but also how this relationship can be challenged. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus (...) nurture" argument. Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus (...) nurture" argument. Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's (...) own, the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

Since the Accession 8 (A8) of the European Union in 2004 the United Kingdom has experienced a significant influx of European Union Member State migrants. Although the A8 migration has been studied widely, gender and gender roles are still in need of further research in particular in relation to older Polish women migrants. The focus of this paper is to provide an insight into the experiences of mobility as reflected by older women migrants from Poland. The findings are crafted into (...) a multivocal account composed around the theme of ‘the embodied experience of migration – age, invisibility, social and economic exclusion’ by drawing on reflections from a life-story interview as well as literary accounts interwoven with ‘authorial stiches’ and connected to the wider migration discourse. The different women’s voices presented in this article point to the fact that the experience of migration can have an empowering and emancipatory effect in relation to gender subjectivity. In contrast to previous studies on female migration with a focus on economic factors, this paper demonstrates that the experience of mobility could be understood as an opportunity to redefine gender subjectivity and offer a route to escape undesirable gender ideology in Poland. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's (...) own, the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

In recent years there has been some hard-won but still limited agreement that phenomenology may be of central importance to the cognitive sciences. This realization comes in the wake of dismissive gestures made by philosophers of mind like Dennett (1991), who mistakenly associates phenomenological method with the worst forms of introspection. For very different reasons, resistance can also be found on the phenomenological side of this issue. There are many thinkers well versed in the Husserlian tradition who do not even (...) want to consider the usefulness of phenomenology for enlightening the sciences of the mind. For them cognitive science is simply too computational or too reductionistic to be seriously considered as capable of explaining experience or consciousness. [1] This is surprising in light of the fact that a highly respected phenomenologist like Merleau-Ponty was integrating phenomenological analyses with considerations drawn from the empirical sciences of psychology and neurology long before cognitive science was constructed as a framework to include just those aspects of psychology and neurology that focus on cognitive experience. Merleau-Ponty aside, philosophers on both sides of this issue have only gradually come to acknowledge the possibility that phenomenology may be directly relevant for a scientific understanding of cognition. Sometimes the empirical scientists themselves have arrived at this conclusion even before, and in spite of the philosophers. Francisco Varela's work on neurophenomenology provides an important example (Varela, 1996). Even the hardest of hard scientists have made peace offerings to phenomenology. Recently, for example, the neuroscientist Jean-Pierre Changeux declares that his purpose "is not to go to war against phenomenology; to the contrary, [he wants] to see what constructive contribution it can make to our knowledge of the psyche, acting in concert with the neurosciences" (Changeux and Ricoeur, 2000, p. 85). (shrink)

Inquiry into the felt dimension of experience can be deeply transformative, but more than promoting transcendence it can help us make contact with the intricacy of our open and embodied self-….

While recognizing its positive contributions, the authors argue both that social constructionism is based on faulty assumptions and that it has far more kinship with objectivism than is generally acknowledged: it repudiates the possibility of universally valid knowledge while holding as universal truth that human nature is socially constructed; claims to have overcome a Western scientific view of the world while failing to recognize its own distinctly Western and parochial character; rejects an objective epistemology only to embrace its subjectivist mirror-opposite. (...) Finally, it presents the "self" as a reflection of cultural frameworks, thus failing to attend to personal experience or to account for creativity, and overlooks humans' relationship to nature, thereby sustaining objectivism's dichotomy between the social and the natural world. 2012 APA, all rights reserved). (shrink)

Miscarriage is the death of a foetus before it is born. Miscarriage is an event that can repeatedly occur in women’s lives. Miscarriage can lead to trauma. This study aims to develop the concept of feminist trauma theology in the event of miscarriage and how the church should respond to this problem. The church is being challenged to give a serious response as evidence and a manifestation of its concern for the various struggles of Christian family life. The church can (...) no longer just pray for a married couple to have children but also be a witness and provide the correct understanding to help families, especially women, become trauma survivors and experience recovery. Contribution: This article describes feminist trauma theology as a significant proposition in answering the problem of miscarriage experienced by women. Building a theological understanding of the case of miscarriage must start from the body and women’s experiences. (shrink)

This essay explores the unique temporal experience in anxiety. Drawing on first-person accounts as well as examples from literature, I attempt to show how anxiety not only disrupts our physiological and cognitive timing but also disturbs the embodied rhythms of everyday social life. The primary goal, however, is to articulate the extent to which human existence itself is a temporally structured event and to identity the ways that anxiety disrupts this structure. Using Martin Heidegger’s account of human existence (...) as a point of departure, I show how the mood of anxiety has the power to alter our self-interpretations by closing down or constricting our experience of the future. I argue that a constricted future impedes our ability ‘to be’ because it closes off the range of projective meanings that we would ordinarily draw on to create or fashion our identities. (shrink)

The book questions two key dichotomies: that of the apparent and real, and that of the internal and external. This leads to revised notions of the structure of experience and the object of knowledge. Our world is experienced as possibilities of action, and to know is to know what to do. A further consequence is that the mind is best considered as a property of organisms' interactions with their environment. The unit of analysis is the loop of action and (...) perception, and the central concept is the notion of habit of action, which provides the embodied basis of cognition as the anticipation of action. This holds for non-linguistic tacit meanings as well as for linguistic meanings. Habit of action is a teleological notion and thus opens a possibility for defining intentionality and normativity in terms of the soft naturalism adopted in the book. The mind is embodied, and this embodiment determines our physical perspective on the world. Our sensory organs and other instruments give us instrumental access to the world, and this access is epistemic in character. The distinction between the physical and conceptual viewpoint allows us to define truth as the correspondence with operational fit. This embodied epistemic truth is however not a sign of antirealism, as the instrumentally accessed theoretical objects are precisely those objects that experimental science deals with.. (shrink)

This essay explores the unique temporal experience in anxiety. Drawing on first-person accounts as well as examples from literature, I attempt to show how anxiety not only disrupts our physiological and cognitive timing but also disturbs the embodied rhythms of everyday social life. The primary goal, however, is to articulate the extent to which human existence itself is a temporally structured event and to identity the ways that anxiety disrupts this structure. Using Martin Heidegger’s account of human existence (...) as a point of departure, I show how the mood of anxiety has the power to alter our self-interpretations by closing down or constricting our experience of the future. I argue that a constricted future impedes our ability ‘to be’ because it closes off the range of projective meanings that we would ordinarily draw on to create or fashion our identities. (shrink)

By investigating conceptions of experience from Descartes to Kant, this book shows that one of the central questions of the early-modern period was how humans can instantiate in their actions the principles of rational moral agency, while at the same time responding with their bodies to the causal play of nature. Through the analysis of this question, the book draws attention to the bodily underpinnings of the ability to experience thoughts and feelings. It thus challenges overly subjectivist interpretations (...) that concentrate on the inner realm of the experiencing mind and because of this fail to account for the worldly dimension of being experientially responsive to the affections of the body. (shrink)

Students of culture have been increasingly concerned with the ways in which cultural values are 'inscribed' on the body. These essays go beyond this passive construal of the body to a position in which embodiment is understood as the existential condition of cultural life. From this standpoint embodiment is reducible neither to representations of the body, to the body as an objectification of power, to the body as a physical entity or biological organism, nor to the body as an inalienable (...) centre of individual consciousness. This more sensate and dynamic view is applied by the contributors to a variety of topics, including the expression of emotion, the experience of pain, ritual healing, dietary customs, and political violence. Their purpose is to contribute to a phenomenological theory of culture and self - an anthropology that is not merely about the body, but from the body. (shrink)

Summary Embodied simulation, a basic functional mechanism of our brain, and its neural underpinnings are discussed and connected to intersubjectivity and the reception of human cultural artefacts, like visual arts and film. Embodied simulation provides a unified account of both non-verbal and verbal aspects of interpersonal relations that likely play an important role in shaping not only the self and his/her relation to others, but also shared cultural practices. Embodied simulation sheds new light on aesthetic experience (...) and is proposed as a key element for the dialogue between neuroscience and the humanities within the biocultural paradigm. (shrink)

This paper aims to provide a theoretical framework for explaining the subjective character of pain experience in terms of what we will call ‘embodied predictive processing’. The predictive processing (PP) theory is a family of views that take perception, action, emotion and cognition to all work together in the service of prediction error minimisation. In this paper we propose an embodied perspective on the PP theory we call the ‘embodied predictive processing (EPP) theory. The EPP theory (...) proposes to explain pain in terms of processes distributed across the whole body. The prediction error minimising system that generates pain experience comprises the immune system, the endocrine system, and the autonomic system in continuous causal interaction with pathways spread across the whole neural axis. We will argue that these systems function in a coordinated and coherent manner as a single complex adaptive system to maintain homeostasis. This system, which we refer to as the neural-endocrine-immune (NEI) system, maintains homeostasis through the process of prediction error minimisation. We go on to propose a view of the NEI ensemble as a multiscale nesting of Markov blankets that integrates the smallest scale of the cell to the largest scale of the embodied person in pain. We set out to show how the EPP theory can make sense of how pain experience could be neurobiologically constituted. We take it to be a constraint on the adequacy of a scientific explanation of subjectivity of pain experience that it makes it intelligible how pain can simultaneously be a local sensing of the body, and, at the same time, a more global, all-encompassing attitude towards the environment. Our aim in what follows is to show how the EPP theory can meet this constraint. (shrink)

In this musing we consider how social distancing, the primary public health measure introduced to mitigate the spread of the COVID-19 virus, is creating social encounters characterized by a self-and-other-consciousness and an atmosphere of suspicion, leading to what we call “alienated embodied communication.” Whilst interaction rituals dominated by avoidance, fear and distrust are novel for many individuals who occupy positions of social privilege, Black and ethnic minority writers have demonstrated that the alienated bodily communication of COVID-19 social distancing is (...) “nothing new” for people who routinely experience marginalization as a result of racism. Our aim in this musing, then, is to reflect on how on-going experiences of stigma, shame, and marginalization can shape how social distancing is registered on an embodied and existential level, and therefore how social distancing may differentially impact individuals with lived experiences of racism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Experience, Embodiment, and History: Remarks on Waldow’s Experience EmbodiedDario Perinetti (bio)Anik Waldow’s Experience Embodied delves into what she calls the “early modern debate on the concept of experience.”1 In her rich and wide-ranging account, she shows how a group of key early modern philosophers dealt with a puzzle regarding the connection between the subjective and objective aspects of experience. The puzzle stems from (...) the fact that experience reveals as much about the experiencing subject as it does about the experienced world. Waldow believes that a one-sided focus on the role of “the way of ideas” in shaping the subjective aspect of experience has distorted our understanding of early modern views on experience.According to the traditional reading, the puzzle presents an intractable challenge to early modern philosophers. For if we experience the world through ideas, and ideas are internal mental states, it becomes difficult to reconcile the explanations required for the psychology of our mental states with those needed for the natural sciences dealing with objective states of affairs. But, so Waldow claims, the challenge can be successfully faced once we understand experience as embodied: “We have to think of experience as embodied to do justice to both explanatory requirements, because it is the body that connects the experiencing mind and its subjectivity with the factual realm of the world.”2Waldow disputes the commonly held view that early modern philosophers saw experience as an interaction between mind and world. She contends, instead, that most early modern philosophers understood experience as embodied. The thesis is presented through a series of “case studies” or “snapshots.” These snapshots focus on the way Descartes, Locke, Hume, Rousseau, Herder, and Kant accounted for the [End Page 319] embodied dimension of experience. The case studies are noteworthy because they succeed in revealing the significance of embodied experience for the authors in question. Waldow manages to expose the significance of embodied experience by focusing on the connection between the authors’ central philosophical views and their views on topics like education, the psychology of emotions, and history, which are often considered of lesser interest by contemporary philosophers.For example, in chapter 1, Waldow argues that connecting Descartes’s mind-body dualism with his understanding of reason as a tool for human self-determination and agency, makes it possible to see how, contrary to commonly held assumptions, Descartes’s dualism aligns well with an understanding of experience as embodied. This weakens the view that Descartes defended a conception of reason as disembodied, and instead, allows for a reading of Cartesian philosophy as aligned with a more naturalistic picture of human nature. In her chapters on Hume and Herder, Waldow sheds light on the way these philosophers perceived reason and experience as deeply rooted in bodily sensibility, as well as in historically shaped moral attitudes and social norms. This focus on embodied experience is central for highlighting how, in different ways, these philosophers endorsed the naturalistic project of understanding the human place in nature. Building on these results, Waldow approaches the problem of the relationship between naturalism and the methodology proper to philosophy from a different and original angle. Her final chapters on Herder and Kant present two ways of understanding the connection between philosophy and the empirical sciences. In her view, Herder advocates for a naturalistic methodology as a way to provide answers to deep metaphysical questions, as well as to empirical questions related to human nature and its connection to culture, society, and history. Unlike Herder, Kant appears as promoting a form of methodological dualism that distinguishes conceptual questions regarding the structure of experience from empirical questions regarding the experience of concrete, embodied human beings. Waldow succeeds in highlighting this contrast between two methodological approaches, thanks to a journey that takes us through the canonical texts of these two thinkers, as well as through less frequented texts such as Herder’s work on the origins of language and Kant’s writings on anthropology, geography, natural history, and history. As can be seen, Waldow’s book not only provides a valuable insight into the significance of embodied experience in early modern philosophy, but also offers refreshing and unexpected readings of the... (shrink)