This chapter contains sections titled: References Further reading.

In The Varieties of Reference (1982), Gareth Evans claims that considerations having to do with certain basic ways we have of gaining knowledge of our own physical states and properties provide "the most powerful antidote to a Cartesian conception of the self" (220). In this chapter, I start with a discussion and evaluation of Evans' own argument, which is, I think, in the end unconvincing. Then I raise the possibility of a more direct application of similar considerations in defence (...) of common sense anti-Cartesianism. Progress in this direction depends upon a far more psychologically informed understanding of normal and abnormal bodily awareness than is generally found in philosophical discussions of these issues. In the context of my attempt at some such understanding, I go on to assess the potential of this more direct line of argument. (shrink)

Subjects suffering from extreme peripheral deafferentation can recruit vision to perform a significant range of basic physical actions with limbs they can’t proprioceptively feel. Self-ascriptions of deafferented action – just as deafferented action itself – fundamentally depend, therefore, on visual information of limb position and movement. But what’s the significance of this result for the concept of self patently at work in these self-ascriptions? In this paper, I argue that these cases show that bodily awareness (...) grounding employment of the self-concept in self-ascriptions of action can be fundamentally third-personal and concern a body that is not presented as one’s own, but as an object among others. (shrink)

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

What is the significance of bodily awareness for bodily action? The orthodox philosophical account from O'Shaughnessy claims that bodily awareness is necessary for bodily action. Whilst O'Shaughnessy's account appears to be consonant with the phenomenology of ordinary agency, it falls afoul to empirical counterexamples. The failure of O'Shaughnessy's account and its cousins might suggest that bodily action does not depend on bodily awareness. On the contrary, I argue that (...) the contrast between the character of afferented and deafferented agency shows that bodily awareness is crucial to explaining the distinctive character of bodily action in neurologically normal agents. In particular, the capacity to feel one's body ‘from the inside’ appears to be a condition on the capacity to act with one's body in a way that is not like remote control. This dependency of capacities is at once empirically adequate and in tune with the phenomenology of ordinary agency. (shrink)

Depersonalization consists in a deep modification of the way things appear to a subject, leading him to feel estranged from his body, his actions, his thoughts, and his mind, and even from himself. Even though, when it was discovered at the end of the 19th century, this psychiatric condition was widely used to probe certain aspects of bodily awareness, and more specifically the sense of bodily ownership (SBO), it has been strangely neglected in contemporary debates. In (...) this chapter, I argue that because of three specific features, depersonalization raises some important challenges for current theories of the SBO. The first feature — call it “generality” — is that depersonalization does not only affect the sense of bodily ownership but also, typically, the sense of ``mental ownership’’ (SMO), the sense of agency or ``action ownership’’ (SOA), and the subject’s core sense of herself (CSS), that is, her awareness of herself as an I. The second feature is that except for the symptoms of depersonalization, depersonalized patients are hard to distinguish, psychologically, from normal subjects. This makes it hard to find psychological features that might explain their condition. The last feature, call it “fundamentality” is that the psychological features that do seem abnormal among depersonalized patients seem more likely to be explained by depersonalization than to explain it. These three features raise three challenges — the centrality challenge, the dissociation challenge, and the grounding challenge. Taken together, I will argue, these challenges suggest that the SBO depends on a form of phenomenal “mineness” that would mark my mental states as mine and that cannot be accounted for in sensorimotor, cognitive, or even affective terms. A phenomenal mineness that indeed seems to be psychologically primitive, and only accountable in neurophysiological terms. (shrink)

What forms of consciousness can the subject have of her body in action? This is a recurrent issue in contemporary research on skilled movement and expertise, and according to a widespread view, the body makes itself inconspicuous in performance in favour of the object or goal that the activity is directed to. However, this attitude to consciousness in bodily performance seems unsatisfying for an understanding of skilled action, and the work of several researchers can be (...) seen as responding to this view: Montero, Legrand, Ravn and others in the philosophy of expertise and of dance have developed various notions of consciousness and cognition to account for the mindful processes at play in performance. Two related questions can be distinguished here: 1. Is there an inherent conflict between skilled action and at least more than marginal awareness of that action, or is it possible – and even desirable – to reflect on our own performance without considerably impeding on it? 2. What forms of consciousness pertaining to the body in action must we distinguish in order to answer the first question? This paper gives an overview of this discussion, focusing on the second issue, although the first will come into play in so far as it is linked with the latter question. Drawing on Merleau-Ponty’s analyses of bodily reflection and on dancers’ descriptions, I show that there is, in phenomenological terms, a bodily level of reflection: a fully conscious and exploratory activity that is led by the skilled body, and that is explicitly aimed at by many performers. (shrink)

Jennifer Hornsby's account of human action frees us from the temptation to think of the person who acts as 'doing' the events that are her actions, and thereby removes much of the allure of 'agent causation'. But her account is spoiled by the claim that physical actions are 'tryings' that cause bodily movements. It would be better to think of physical actions and bodily movements as identical; but Hornsby refuses to do this, seemingly because she (...) thinks that to do so would be to endorse the so-called 'standard causal story'. But Hornsby misses a possibility here, for we can insist on this identity claim without endorsing the standard story if we embrace an account which parallels the disjunctive account in the philosophy of perception. This will leave us with a picture of physical action that saves the insights of Hornsby's account without succumbing to its distortions. (shrink)

What forms of consciousness can the subject have of her body in action? This is a recurrent issue in contemporary research on skilled movement and expertise, and according to a widespread view, the body makes itself inconspicuous in performance in favour of the object or goal that the activity is directed to. However, this attitude to consciousness in bodily performance seems unsatisfying for an understanding of skilled action, and the work of several researchers can be (...) seen as responding to this view: Montero, Legrand, Ravn and others in the philosophy of expertise and of dance have developed various notions of consciousness and cognition to account for the mindful processes at play in performance.Two related questions can be distinguished here: (1) Is there an inherent conflict between skilled action and at least more than marginal awareness of that action, or is it possible – and even desirable – to reflect on our own performance without considerably impeding on it? (2) What forms of consciousness pertaining to the body in action must we distinguish in order to answer the first question?This paper gives an overview of this discussion, focusing on the second issue, although the first will come into play in so far as it is linked with the latter question. Drawing on Merleau-Ponty’s analyses of bodily reflection and on dancers’ descriptions, I show that there is, in phenomenological terms, a bodily level of reflection: a fully conscious and exploratory activity that is led by the skilled body, and that is explicitly aimed at by many performers. (shrink)

The place of physical education has been contested in recent times and it has been argued that its justification as part of school curricula seems to be marginal at best. Such justifications as have been offered, propose that physical education is justified because of its contribution to moral development or because it is capable of being studied as a theoretical subject. Other justifications have centred on the embodied nature of the human being. In this article we draw on (...) some classical thinkers, Plato, Aristotle, Aquinas, Augustine and Benedict, to argue for a strong, integrated view of the human person. From this it is concluded that physical education is a necessary component of education and that a complete education therefore involves physical education. Physical education is understood in a broad sense as a family resemblance concept which incorporates a wide variety of physical activities. Disciplined physical activity which enables individuals to gain those physical skills required for learning, it is proposed, is essential for intellectual development. Benedictine education, which involves hard physical work, reading, prayer and reflection, illustrates how the physical and mental aspects of a person are to be integrated in order to attain the ends of the committed Benedictine monk. (shrink)

Is it possible to misidentify the object of an episode of bodily awareness? I argue that it is, on the grounds that a person can reasonably be unsure or mistaken as to which part of his or her body he or she is aware of at a given moment. This requires discussing the phenomenon of body ownership, and defending the claim that the proper parts of one’s body are at least no less ‘principal’ among the (...) objects of bodily awareness than is the body as a whole. I conclude with some reasons why this should lead us to think that bodily awareness, unlike introspection, is a form of perception. (shrink)

At the beginning of the study of physical phenomena, the idea of "force" was widely used to explain the non-stationarity of observed phenomena, such as the movement of bodies. However, as mechanics and physical theories developed, the force notions gained own formal definitions and names, without the use of the term "force". So, the concept of kinetic energy arose instead of "vis viva", and "current" instead of "current strength" ets. Additionally, a number of new physical theories have (...) been formulated without the use of force concept. As a result, different types of forces have gradually been replaced by other more important concepts, such as energy and action, which are closely linked to fundamental physical principles. It is interesting to note that the general trend in the development of civilizations has been a shift from unrestricted power (expressed in the thesis "might makes right") to its subordination and incorporation into a legal framework. This is similar to the evolution of physics, which has seen the notion of force become eliminated or subordinated to more general principles and laws. (shrink)

The Illusion of the Body: Introducing the Body Alive Principle is the divinely inspired work of author David Almeida. This book opens the door to a new understanding in metaphysical thinking. The author draws on the philosophy of panpsychism to support his contention that an unseen ocean of consciousness exists all around us, and within our own bodies (i.e. cells, organs, and systems). The author refers to the Body Alive Principle as “panpsychic healing.” This text offers proven (...) techniques for communicating with the body intelligences the author terms the “little minds.” This process is intended to bring healing to those with both minor and severe medical conditions. Some of the most common medical complaints treated by the Body Alive Principle includes:1. Back or neck pain2. Allergies3. Arthritis/rheumatism4. Difficulty walking5. Headaches6. Lung problems7. Digestive8. Gynecological9. Anxiety disorders10. Heart conditionsThe author contends that even the most nefarious medical issues are curable or can be successfully managed using the Body Alive Principle. This is accomplished through the action of human “super mind”, which will at times consciously supervise the activities of the little minds. The Illusion of the Body instructs its Body Alive practitioners to approach their recovery using several time-tested techniques. Three widely recognized methods are employed in the application of the panpsychic healing philosophy. These modalities are creative visualization and empathetic listening followed by affirmative commands. Each technique is essential to the effectiveness of the Body Alive Principle.This book also discusses guilt and its deleterious effect on the body. True guilt has a beneficial quality when it prevents us from repeating an unacceptable behavior. Beyond this, guilt causes us to become ineffectual. The author holds that this antiquated form guilt needs to be purged, so that we may move on with our lives. A step-by-step process for liberating oneself from the chains of guilt is provided.There is also a section dedicated to trauma because of its potential to immobilize an affected person. Traumatic experiences suddenly unleashed on the body may produce waves of acute anxiety, which wreak havoc on its finely tuned systems. The author recounts his personal experience of negotiating the discharge of negative experiences with the entities supporting them.The Body Alive Principle promotes the importance of adhering to high moral standards in order to maintain homeostasis within ourselves. Integrity is of the outmost importance to the little minds. The author emphasizes the necessity for one to act within the domain of moral excellence. However, the author makes it clear that integrity is a process we work to perfect throughout our lives.The Illusion of the Body represents the author's many years of metaphysical study and experimentation. The author hopes to generate a greater awareness and appreciation of our precious bodily intelligences. The organic vessels that contain our consciousness are alive. They are almost countless in number. If we, the super mind can learn to communicate with the little minds in a positive way, we can ensure ourselves of a more comfortable journey. (shrink)

This history of physics focuses on the question, "How do bodies act on one another across space?" The variety of answers illustrates the function of fundamental analogies or models in physics as well as the role of so-called unobservable entities. Forces and Fields presents an in-depth look at the science of ancient Greece, and it examines the influence of antique philosophy on seventeenth-century thought. Additional topics embrace many elements of modern physics--the empirical basis of quantum mechanics, wave-particle duality and the (...) uncertainty principle, and the action-at-a-distance theory of Wheeler and Feynman. 1961 ed. (shrink)

Chapter 1 First Person Access to Mental States. Mind Science and Subjective Qualities -/- Abstract. The philosophy of mind as we know it today starts with Ryle. What defines and at the same time differentiates it from the previous tradition of study on mind is the persuasion that any rigorous approach to mental phenomena must conform to the criteria of scientificity applied by the natural sciences, i.e. its investigations and results must be intersubjectively and publicly controllable. In Ryle’s view, philosophy (...) of mind needs to adopt an antimentalist stance to achieve this aim. Antimentalism not only definitively rejects the idea that mind is a substance separated from the body, it also denies that mental phenomena radically differ from physical phenomena by virtue of several unique features. Most problematically, mental phenomena have a conscious character (mental states are related to specific qualitative feelings) and are accessible only to the first-person (only the subject knows directly what s/he is experiencing inside his/her mind). Ryle takes a strong stance on antimentalism going so far as to maintain that an approach to mind which aims to meet the criteria of scientificity set by the natural sciences must avoid any reference to internal, unobservable mental states. In his view (which is considered a specifically philosophical version of psychological behaviorism and also addresses questions put forward in psychological research), mental states can be redescribed in terms of behavioral dispositions. In this chapter, we address the historical roots of the antimentalist view and analyze its relation to the later tradition of research on mind. We show that, compared to the antimentalist stance, functionalism and cognitivism take a step back when they maintain that direct reference to mental states is necessary since mental states cause and therefore explain human behavior. This step backwards is often interpreted as a return to mentalism. However, this is only partially true. Indeed, we suggest that these later traditions retain one important element of Ryle’s antimentalism, i.e. the idea that mental states must be uniquely identified using external and publicly observable criteria, while excluding any reference to introspection and those qualitative dimensions of a mental state, which are accessible only to the first-person. According to the perspective we put forward, this epistemological stance has continued to influence contemporary research on mind and current philosophical and psychological theories which both tend to exclude the subjective qualities of human experience from their accounts of how the mind works. The issue we raise here is whether this is legitimate or whether subjective qualities do play a role with respect to the way our mind works. The conclusion of this chapter anticipates the argument the book makes in in favor of this latter position, starting from a particular angle, i.e. the problem of how we categorize concepts related to our internal states. -/- Chapter 2 The Misleading Aspects of the Mind/Computer Analogy. The Grounding Problem and the Thorny Issue of Propriosensitive Information -/- Abstract. After the crisis of behaviorism, cognitivism and functionalism became the predominant models in the field of psychology and of philosophy, respectively. Their success is mainly due to the new key they use for interpreting mental processes: the mind/computer analogy. On the basis of this analogy, mental operations are seen as cognitive processes based on computations, i.e. on manipulations of abstract symbols which are in turn understood as informational unities (representations). This chapter identifies two main problems with this model. The first is how these symbols can relate to and communicate with perception and thus allow us to identify and classify what we perceive through the senses. Here we limit ourselves to presenting this issue in relation to the classical symbol grounding problem originally put forward by Harnad on the basis of Searle’s Chinese room argument. An attempt to address the problem raised here will be made in chap. 3. The second point we discuss in relation to the mind/computer analogy concerns the idea of information it fosters. Indeed, following this analogy, information is something available in the external world which can be captured by the senses and transmitted to the central system without being influenced or modified by the procedures of transmission. This perspective does not take into account that – unlike computers – in living beings information is acquired by means of the body. As Ulric Neisser has already pointed out, the body is itself an informational source that provides us with additional sensory experience that influences (modifies or complements) the information extracted from the external world by the senses. To develop this line of analysis and to determine exactly what information is provided by the body and how this might influence cognition, we examine Sherrington’s and Gibson’s positions. Moving on from their views, we qualify bodily information in terms of ‘proprioception’. We use ‘proprioception’ in a broad sense to describe any kind of experience we have of our internal states (including postural information as well as sensations related to the general state of the body and its parts). Following Damasio’s and Craig’s studies, we further elaborate this position, arguing that living beings are equipped with an internal propriosensitive monitoring system which maps all the changes that constantly occur in our body and that give us perceptual (‘proprioceptive’ or propriosensitive) information about what happens inside us. Moreover, relying on Goldie’s and Ratcliffe’s view, we show that emotional information can also be considered as a form of ‘proprioception’ which contributes to determining everything we perceive. This analysis leads us to the second main thesis of this book: ‘proprioception’ is a form of internal perception and it is an essential component of the sensory information we can access and use for all cognitive purposes. -/- Chapter 3 Semantic Competence from the Inside: Conceptual Architecture and Composition -/- Abstract. Concepts are essential constituents of thought: they are the instruments we use to categorize our experience, i.e. to classify things and group them together in homogeneous sets. Here we define concepts as the internal mental information (representations) that allows us, among other things, to master words in natural language. By analyzing the way in which individuals master word meanings we explore a number of hypotheses regarding the nature of concepts. Following Diego Marconi’s research, we differentiate between two kind of abilities that underpin lexical competence – so-called ‘referential’ and ‘inferential competence’ – and we suggest that, in order to support these abilities, concepts must also include two corresponding kinds of information, i.e. inferential and referential information. We point out that the most widely used and acknowledged theories of concepts do not make this distinction, instead broadly characterizing the information used for categorization in terms of propositionally described feature lists. However, we show that while feature lists can explain inferential competence, they do not account for referential competence. To address the issue of referential competence we examine Ray Jackendoff’s hypothesis that to account for the possibility of linking perceptual and conceptual information we need to assume the existence of a (visual) representation that encodes the geometric and topological properties of objects and bridges the gap between the percept and the concept. Furthermore, we analyze the extension of this work by Jesse Prinz who introduced the notion of a proxytype, a perceptual representation of a class of objects that incorporates structural and parametric information related to their appearance. However, as we point out, proxytypes can only explain the relationship between perception and concepts with respect to instances that can be perceived through the senses and that belong to the same class by virtue of their physical similarity. We suggest that this notion be extended to include larger conceptual classes. To accomplish this, we further develop Mark Johnson, George Lakoff and Jean Mandler’s idea of a schematic image and argue that conceptual representations include a perceptual schema. Perceptual schemata are non-linguistic, structured experiential gestalts (patterns or maps) that make use of information taken from all sensory modalities, including body perception. They accomplish a quasi-conceptual function: they allow us to recognize and to classify different instances. In this work, we hypothesize that perceptual schemata are an essential component of concepts, but not identical to them. Instead, we suggest that concepts include both perceptual and propositional information with perceptual schemata providing the ‘perceptual core concept’ that grounds related propositional information. -/- Chapter 4 In the Beginning There Were Categories. The Bodily Origin of Prelinguistic Categorical Organization: The Example of Folkbiological Taxonomies -/- Abstract. Studies of categorization in psychology and the cognitive sciences have made use of the notions of ‘category’ and ‘concept’ without precisely defining what is meant by either; in fact, often these terms have been used as synonyms, making it difficult to address specific issues related to conceptual development. This chapter begins by discussing the definitions of, as well as the distinctions between, ‘categories’ and ‘concepts’ in the classical philosophical tradition (Aristotle, Kant and Husserl). We introduce our view of categories with reference to Husserl. Categorization is defined as the way in which our experience is originally (pre-linguistically) organized in a passive and fully unconscious manner on the basis of universal structuring principles. Conceptualization is explained as a later process in which the earlier categorical macro-classes are further subdivided into more specific and detailed sets; this later process also relies on linguistic learning and exposure to culture. On the basis of Ray Jackendoff, Jean Mandler, George Lakoff and Mark Johnson’s work, we hypothesize that categorization is a two-step process that begins with the formation of homogeneous sets of entities partitioned into regions that describe the ontological boundaries of the objects that humans perceive (categories) and continues at a later stage with the development of more specific classifications (concepts). In this chapter, we mainly address three related issues: Why should we assume that there is categorical organization which precedes the development of a conceptual system? How do categories and concepts relate to each other? Shall we hypothesize that categories are innate or that they are formed before concepts on the basis of information and organizational structure available at a very early developmental stage? We show that categorical partitions are necessary for categorization and, following Mandler, that the general categories we form at an early age do not match our adult superordinate concepts. As for the third issue, we argue that there might be no need to assume that categories are innately present in the human mind, since their formation can be explained – at least in certain cases – by basic mechanisms that work on body (propriosensitive) information. This hypothesis will not be discussed in general, but in relation to a particularly relevant example of categorical partition, i.e. the folk-biological dichotomy between ANIMATE/INANIMATE. This is compared with other dichotomies that derive from it, but are not directly categorical such as LIVING/NON-LIVING and BIOLOGICAL/NON-BIOLOGICAL. -/- Chapter 5 Internal States: From Headache to Anger. Conceptualization and Semantic Mastery -/- Abstract. Here we ask if we can also apply the distinction between referential and inferential competence we introduced in Chapter 3 to words that do not refer to things that are perceived using the external senses, especially to words/concepts that denote bodily experiences (such as pain, thirst, hunger, etc.) or emotions. We introduce and discuss the hypothesis that – even though such words/concepts do not refer to intersubjectively identifiable entities in the external world – they do have a kind of referent that can be accessed via direct perception, more specifically ‘proprioception’, as we have defined it in terms of all propriosensitive information we can consciously access. In the first part of the chapter, we specifically consider terms denoting bodily experiences such as ‘pain’ or ‘hunger’ and argue that their referents are identified and classified from a first-personal point of view on the basis of four main characteristics: their specific intensity, their localization in the body, their co-occurrence with other signals and above all their specific qualitative sensations. Emotions are addressed in the second part of the chapter. We suggest that there is a continuity between bodily experiences and emotions. In particular, we argue for a perceptual theory of emotions in line with that proposed by James and Lange at the end of the 19th century and developed more recently by authors such as Damasio (see also chap. 2§5, §6). The hypothesis we put forward is that the referential information that supports the categorization of emotions and therefore also our mastery of terms referring to emotions consists in the perception (i.e. the ‘proprioception’) of those bodily states and changes in bodily states which constitute our emotional experience. In the context of this discussion we examine some objections to this line of reasoning that arise from a cognitivist perspective and following authors such as Oatley, Johnson-Laird and Frijda, we distinguish between basic emotions that can be identified and classified solely on the basis on how they feel and complex emotions whose identification and classification additionally depends on cognitive factors. To describe how emotions are identified and classified on the basis of how they feel, we rely on Marcel and Lambie’s distinction between an ‘emotion state’ and an ‘emotion experience’. Both notions indicate kinds of feelings that we consciously experience. However, they describe first-order and second order emotion awareness respectively. The emotion state is the feeling we have of the bodily states and changes that occur when we are experiencing an emotion, while the emotion experience is the fully developed and integrated emotion we both experience and are, with reflection, aware of experiencing. On the basis of this differentiation, we also show that the same characteristics that aid in the identification and classification of bodily experiences (specific qualitative sensations; somatic localization; specific intensity; presence/absence of specific concomitant sensations) can also be used for the identification and classification of emotions – at least basic emotions. In the last two sections of the chapter we present some clinical evidence on the semantic competence of people who suffer from Alexithymia and Autism Spectrum Disorder which supports the conclusions of our preceding analyses. -/- Chapter 6 The ‘Proprioceptive’ Component of Abstract Concepts -/- Abstract. In this chapter, we address the issue of whether the mastery of abstract words requires only inferential knowledge and thus, if the concepts that support the mastery of abstract words include only linguistic information. We start by differentiating the notions of ‘abstract’ and ‘general’ which are often erroneously confused. We then identify a strict definition of abstract, as contrasted with ‘concrete’, that applies to words or concepts whose referent cannot be experienced by the senses. We argue that abstract words/concepts would be better described as theoretical, because they are usually conceived as structured sets of inferential knowledge expressed linguistically; that is, as small theories. Pointing out parallels with Carnap’s analysis of this issue in philosophy of science, we hypothesize that words/concepts denoting non-observable entities are not all ‘equally theoretical’, because their link to sensory experience can be stronger or weaker. We revive the distinction, inspired by Quine, between theoretical and intertheoretical concepts/words. This distinction relies on the fact that the former – unlike the latter – retains a strong, although indirect, connection with perception. In Quine’s discussion, perception is understood uniquely in terms of observability, i.e. of external sensory experience. Here we argue, however, that bodily, ‘proprioceptive’ (i.e. propriosensitive) experience can also serve to referentially ground theoretical (i.e. abstract) concepts/words. We frame this issue using the example of the theoretical concept ‘freedom’ and Lakoff’s hypothesis that this concept is developed on the basis of bodily information. We contrast this with the example of ‘democracy’ which more closely resembles an intertheoretical concept/word. Furthermore, we show that one of the classical views put forward in psycholinguistic research to explain how abstract concepts are mentally represented – i.e. Paivio’s Dual Coding Theory – points in the same direction as our analysis. The same is true of Barsalou’s work suggesting that we use internal information to understand at least some abstract words. To sustain this position, we put forward two lines of evidence: the first comes from psycholinguistic studies while the second examines deficits of semantic competence exhibited by people with Autism Spectrum Disorder. On the basis of our analysis, we put forward a classification that distinguishes between different kinds of concreteness and different degrees of abstraction: concepts/words referring to body experiences and basic emotions are described as analogous to concrete concepts/words because they are grounded in perceptual (i.e. propriosensitive) experience, while abstract concepts/words are considered more or less abstract depending on whether they are intratheoretical (and rely entirely on inferential information) or theoretical (and are partially grounded in perceptual – or more often in propriosensitive perceptual – information). In the last section of the chapter we consider two scales that have been used in psycholinguistic research to measure the degree of concreteness vs. abstractness of words and we show that – used conjointly – they can provide a measure of the internal vs. external grounding of specific words. (shrink)

Revisiting the generally accepted notion of psycho-physical parallelism in Spinoza, Chantal Jaquet offers a new analysis of the relation between body and mind. Looking at a range of Spinoza's texts, and using an original methodology, she analyses their unity in action through affects, actions and passions.

Taking as its central question, "How do bodies act on one another across space?", this book traces the answers which have been given from the Pre-Socratics to current physical theory. The basic thought guiding the discussion is that the conceived mode of action between bodies is a general property exhibited by the model of a current physical theory. The study is rich in primary material, and carefully documented throughout; it fulfills a long-felt need for a thorough and (...) careful treatment of this subject.--B. J. H. (shrink)

The aim of this article is to explore nuances within the field of bodily self-awareness. My starting-point is phenomenological. I focus on how the subject experiences her or his body, i.e. how the body stands forth to the subject. I build on the phenomenologist Drew Leder’s distinction between bodily dis-appearance and dys-appearance. In bodily dis-appearance, I am only prereflectively aware of my body. My body is not a thematic object of my experience. (...) Bodily dys-appearance takes place when the body appears to me as “ill” or “bad.” This is often the case when I experience pain or illness. Here, I will examine three versions of bodily dys-appearance. Whereas many phenomenological studies have explored cases of bodily dys-appearance, few studies have focused on the opposite of bodily dys-appearance, i.e. on bodily modes of being where the body appears to the subject as something good, easy or well. This is done in this article. When the body stands forth as good, easy or well to the subject, I suggest that the body eu-appears to this person. The analysis of eu-appearance shows that the subject can attend to her or his body as something positive and that this attention need not result in discomfort or alienation. Eu-appearance can take place in physical exercise, in sexual pleasure and in some cases of wanted pregnancies. I also discuss, briefly, the case of masochism. (shrink)

The ultimate tool, it could be said, is the brain and body. Therefore, a way to understand tool use is to study the brain's control of the body. A more manageable aim is to use the tools of cognitive science to explore the planning of physical actions. Here, I focus on two kinds of physical acts which directly or indirectly involve tool use: producing finger‐press sequences, and walking and reaching for objects. The main question is how (...) people make choices between finger‐press sequences, and how people make choices between walk‐and‐reach sequences. Are the choices made with reference to motor imagery, in which case the longer the sequences are the longer it takes to choose between them, or are shortcuts taken which rely on distinctive features of the alternatives? The reviewed experiments favor the latter alternative. The general view of action planning emerging from this work is one in which action features are highlighted and held in memory, not just to choose between potential actions but also to control the unfolding of long actions over time. Speculations are offered about tool use. (shrink)

In the early modern age, two causal models are clearly identifiable: action at a distance—a typical Renaissance paradigm, widespread among thinkers involved in natural magic and seventeenth-century Neoplatonists—and action by contact, on which both the Aristotelians and the Cartesians agreed. Pierre Gassendi too seems to endorse the motto: ‘Nihil agit in distans nisi prius agit in medium’ [Nothing acts at a distance unless it acts through a medium]. In this essay, it will be shown that a third causal (...) model exists, according to which material bodies are surrounded by ‘atmospheres’ of effluvia or qualities, which spread within a circumscribed ‘sphere of activity’, whose extension is peculiar to each body. In particular, it will be shown: what the third causal model was like, from an ontological point of view, that is, how it centred on the concepts of effluvium and spiritus, or qualitas; what this model was like, from a gnoseological point of view; how it was theorized by... (shrink)

In mental action there is no motor output to be controlled and no sensory input vector that could be manipulated by bodily movement. It is therefore unclear whether this specific target phenomenon can be accommodated under the predictive processing framework at all, or if the concept of “active inference” can be adapted to this highly relevant explanatory domain. This contribution puts the phenomenon of mental action into explicit focus by introducing a set of novel conceptual instruments and (...) developing a first positive model, concentrating on epistemic mental actions and epistemic self-control. Action initiation is a functionally adequate form of self-deception; mental actions are a specific form of predictive control of effective connectivity, accompanied and possibly even functionally mediated by a conscious “epistemic agent model”. The overall process is aimed at increasing the epistemic value of pre-existing states in the conscious self-model, without causally looping through sensory sheets or using the non-neural body as an instrument for active inference. (shrink)

The implicit activities of the living body in sports (such as heart rate, involuntary gestures, stress, reflex, emotional regulation and interaction expressions) emerge in the consciousness of the lived body without our voluntary control. We demonstrate physiological emersion, and how, including in dramaturgical perception, physiological flows and processes collide with the image of a whole body. In this paper, we introduce corporeal non-property as the missing (?) link between phenomenology and neuroscience, renewed by research on the cerebral (...) unconscious and the perception of their lived body. Rather than mindfulness, physical activity obliges the subject to learn the unconscious and his motor skills from his living body: a new psychoanalysis of sport is thus established by studying what emerges from the activity of the living body up to the level of the conscious description of motor action. In this paper, we explain why that awareness occurs, and why it matters for the understanding of unconscious activity of the athlete’s living body. This is potentially interesting, although it needs, as a theory, to overcome the obvious reliance of the body on unconscious or habitual/automated physiological processes. But the incorporation of body techniques forms a habitus. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious means (...) in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

Husserl’s philosophy of culture relies upon a person’s body being expressive of the person’s spirit, but Husserl’s analysis of expression in Logical Investigations is inadequate to explain this bodily expressiveness. This paper explains how Husserl’s use of “expression” shifts from LI to Ideas II and argues that this shift is explained by Husserl’s increased understanding of the pervasiveness of sense in subjective life and his increased appreciation for the unity of the person. I show how these two developments (...) allow Husserl to better describe the bodily expressiveness that is the source of culture. Husserl’s account of culture is thoroughly intentionalistic, but it does not emphasize thought at the expense of embodiment. Culture originates not in an abstract subjectivity, but by persons’ expressing themselves physically in the world. By seeing how Husserl develops his mature position on bodily expressiveness, we can better appreciate the meaningfulness and the bodily concreteness of cultural objects. (shrink)

This article suggests that one means for empathetically and imaginatively engaging the intersectional differences of otherness to find commonality while still honoring, recognizing, and celebrating those differences is found in the notion of embodied care—the framing of feminist care ethics in terms of its physical elements. Because embodiment remains a common denominator among humans despite the strength of intersectional differences, the body is an important means of connectivity and thus a basis for at least partial understanding between embodied (...) beings. However, this is a humble commonality born out of responsiveness and listening because the body is also the site of inscribed differences. Authentic care is always responsive and thus respectful of the one cared for. Framing care as performed bodily actions is an effort to capture a corporal basis for morality that has the potential to help us negotiate powerful narratives of socially constructed otherness in order to engage identity-based injustice without silencing the voices and experiences of difference and dissent. Care is described as a performance of the body/self, and how such performances of the body can spark understanding across intersectional differences. The article suggests dramaturgical exercises for developing skills of caring for unfamiliar others. (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)

We all know that we have and are our bodies. But might it be possible to leave this common place? In the present article we try to do this by attending to the way we do our bodies. The site where we look for such action is that of handling the hypoglycaemias that sometimes happen to people with diabetes. In this site it appears that the body, active in measuring, feeling and countering hypoglycaemias is not a bounded whole: (...) its boundaries leak. Bits and pieces of the outside get incorporated within the active body; while the centre of some bodily activities is beyond the skin. The body thus enacted is not self-evidently coherent either. There are tensions between the body’s organs; between the control under which we put our bodies and the erratic character of their behaviour; and between the various needs and desires single bodies somehow try to combine. Thus to say that a body is a whole, or so we conclude, skips over a lot of work. One does not hang together as a matter of course: keeping oneself together is something the embodied person needs to do. The person who fails to do so dies. (shrink)

Descartes's epistemology, morals, and metaphysics – each offer reason to look on real life as a spectator looks on a theater production. The meditator seeking certainty watches his body move as in a dream and employs an entirely passive faculty of knowledge. In order to act firmly and yet not risk disappointment, the moral subject confines action to the soul, refusing to count bodily activities as actions, and cultivates a desire free from passion. After the Meditations, the (...) metaphysician abandons the thesis that soul and body constitute a human being, consequently limiting human goods to goods of the soul alone and devaluing embodied life in the world. (shrink)

In order to explain the contemporary relevance of Aristotle’s thought, the following discussion explores various examples of Aristotelian theories, concepts, and distinctions which remain at the centre of the philosophical debate. From the domain of logic we consider the notion of category, which was developed by G. Ryle, the distinction between apophantic and semantic discourse, that was stressed by J. Austin, the debate on the principle of non- contradiction, and the theory of fallacies; from the domain of physics, we (...) examine the concepts of substrate, form, continuum, and time, which have been discussed by I. Prigogine and R. Thom; from the field of biology, we consider the function of form in animal generation, which M. Delbrück has compared to the role of DNA; from the field of psychology, we look at the notion of soul as a complex of dispositions, which has been identified by many philosophers as a solution of the “Mind-Body Problem;” from the realm of ethics, we investigate the distinction between action and production, an approach developed by H. Arendt, and the virtue of phronesis, which has been developed by H. G. Gadamer and A. McIntyre. In particular, we discuss the Aristotelian theory of the ambiguity of the concept of being, the notion of “focal meaning,” that has been developed by G. E. L. Owen, and the function of form in the identification of individuals, which has been pursued by M. Frede. (shrink)

Near the end of his speech, Timaeus outlines a theory of bodily health and disease which has seemed to many commentators loosely unified or even inconsistent . But this section is better unified than it has appeared, and gives us at least one important insight into the workings of physical causality in the Timaeus. I argue first that the apparent disorder in Timaeus’s theory of disease is likely a deliberate effect planned by the author. Second, the taxonomy of (...) disease in the passage consists of one genus subsuming two species. Third, in Timaeus’s theory, health lies between perfect stability and a chaos of all possible motions; this indicates a conception of health as the activation of the body's powers in the right way. A power is a property directed towards bringing about some change. Fourth, the activation of these powers can change depending on the location of their possessors. This last point shows that causation among the physical items in the Timaeus involves structures as well as pushes. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living (...) body, that Gallagher often draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (shrink)

This chapter concentrates on the edges of the lived body, which act to mediate between the outermost and innermost edges. The prospects for construing bodily edges are explored. Bodily edges realise the paradigm of definitive but incomplete self-knowledge in a very particular way: namely, that such edges are parts of parts. The internal and external edges of bodily parts are not only glimpsed in the course of ongoing experience but also offer a grip for hands. Inside/outside (...) is an especially significant binary edge structure, and is altogether central to edges that inhere in bodies. Bodily edges act as the mediatrix between the edges of the perceived earth and those of the inner psyche, and also provide the conjunctures for many things in experienced life-worlds. (shrink)

The paper explores the relation between reason and action as it emerges from the texts of Āyurveda. Life or Ayus (commonly understood as life-span) is primary subject matter of Ayurveda. Life is a locus of experience, action and disposition. Experiences and actions are differentially determined by dispositions that characterize the organism; otherwise all living organisms will be identical. Ayus of each living being is uniquely individual and remains constant between birth and death. In this journey, upkeep of ayus (...) is the purpose of Āyurveda or science of life. Ayurveda is a science of experienced matter as well as of experienced body. The living body is critically dependent on the influx of matter for its upkeep. Āyurveda offers a conceptual system to reason about balance and imbalances of the system and the causal role of the material flux through the system. This sensate matter is causally open and makes room for definite causal role for the individual and the effective insertion of the felt-purpose of action. Some of the strengths of Ayurveda are brought forth in the paper such as (a) reasoning out the compatibility between the bodily processes and the selection of the natural products for diet and drug, (b) role for heuristics in medical diagnosis, which takes into cognizance the particularity of each living body and the teleology evident in the very act of diagnostic reasoning. The paper shows that Āyurvedic theory is built on experiential datum whereas scientific medical theory is built on experience-independent datum. Āyurveda explores causal efficacy of ‘secondary qualities’ whereas scientific medicine explores causal efficacy of ‘primary qualities’. The actionable experiential reasoning is at the foundations of Āyurveda whereas modern medical science is ab initio saddled with difficult ‘hiatus theoreticus’ between theory and practice. For Ayurveda it is experience of qualities that discloses behavior of matter. The types of qualities that appear in experience have a special significance for theorizing about the actions of matter with the help of qualities. The paper explores the relation between experience of qualities and the method of science. It shows how efficacy of medical practice is based on the foundational stance of experiential realism in theory. To bring the point home, the paper borrows Aristotalian concepts to show how the relation between phantasm and phronesis is honored in the very theory of Āyurveda. (shrink)

The “centre-periphery” relationship historically structured scientific exchanges between metropolis and province, between the fount of empire and its outposts. But the exchange, if regarded merely as a one-way flow of scientific information, ignores both the politics of knowledge and the nature of its appropriation. Arguably, imperial structures do not entirely determine scientific practices and the exchange of knowledge. Several factors neutralise the over-determining influence of politics—and possibly also the normative values of science—on scientific practice.In examining these four examples of (...) Indian scientists in encounters with their peers at the centre, exceptional scientists are seen in a social context where the epistemology of science supposedly describes its practice. Imperialism imposes practices and patronage, which moderate the exchange of scientific knowledge. But, at Level Two, the politics of knowledge and the patterns of patronage within it mediate exchanges between the centre and the periphery.The first step in reconfiguring exchanges between centre and periphery —in this case, between Europe and India during the period 1850 to 1930— is to recognise the relation between the acquisition of resources and the maintenance of legitimacy and identity.67 Political life is not confined to the core of political institutions.68 Second, in examining science as practised in the colonies, it is necessary to see stages of scientific institutions, whose development structures the exchange.From the encounter of Ramchandra and De Morgan, it is evident that the centre-periphery framework should be separated from the models of transmission embedded within it. The notion of “translation” helps to suggest that scientists bring personal motives and meanings to each encounter. Ramchandra, for example, sought a novel method of teaching Indians calculus, while De Morgan's interest lay in finding a place for algebra in a liberal education.The hierarchy inherent in the centre-periphery framework compels the conclusion that, at Level Two, the autodidact outside the institutions of science must have his work presented to scientists at the centre by authoritative figures from the centre. This is not mainly a question of imperialism, but rather of patronage. The peripheral scientist could not be granted direct entry into the collegial circle until his efforts at the periphery could be translated into the language and concerns of the central community. Ramanujan's enigmatic formulas were translated into the language of analysis by Hardy, which enabled the creation of a field to which Hardy was committed. Scientists from the periphery who were already part of the circle by virtue of their training, were not necessarily subject to the same degree of attestation as other scientists from the periphery. P.C. Ray, with his DSc from Edinburgh, and his position at Calcutta University, had less difficulty in winning the trust of colleagues at the centre, even when he returned to India. On the contrary, remaining at the periphery, he moved from a context of patronage to a sphere of competition. In addition, Ray's collegiality, even at Level Two, was more comprehensive, and connected him with Level One.Eventually, the professional Indian science graduate found collegiality within the international community of scientists. Saha's self-imposed progressive nationalism constrained his identification with the centre and made him a potential competitor instead. Once having achieved eminence in the world of science, C.V. Raman and Saha shifted their work to journals of physics published in India in order to further the cause of physics research in their own country.69To go beyond the limitations of the centre-periphery model, it is necessary not merely to examine exchanges between scientists functioning in a “shared epistemological universe”,70 but also to recognise the part played by institutions, the experience of colonialism, and the forms of patronage characterising both colonialism and science. Put another way, although there is relative epistemological autonomy within the disciplinary research communities of science, the interplay between knowledge and power structures this exchange.The scientific links between colonial India and Britain at the turn of the century were mediated by structures which prefigured change. Does structure determine all? If it does, we are left with an Orientalist reconstruction of the docile native, and a passive cultural medium into which science percolates. But this neglects the role of scientists in creating new structures within which they worked. A middle position—one more sensitive to the exigencies of colonial scientific life—would be one where the participants are seen not as the dupes of “structure nor the potentates of action”, but as occupying a ground between the two.71. (shrink)

All too often, we think of our minds and bodies separately. The reality couldn’t be more different: the fundamental fact about our mind is that it is embodied. We have a deep visceral, emotional, and qualitative relationship to the world—and any scientifically and philosophically satisfactory view of the mind must take into account the ways that cognition, meaning, language, action, and values are grounded in and shaped by that embodiment. This book gathers the best of philosopher Mark Johnson’s essays (...) addressing questions of our embodiment as they deal with aesthetics—which, he argues, we need to rethink so that it takes into account the central role of body-based meaning. Viewed that way, the arts can give us profound insights into the processes of meaning making that underlie our conceptual systems and cultural practices. Johnson shows how our embodiment shapes our philosophy, science, morality, and art; what emerges is a view of humans as aesthetic, meaning-making creatures who draw on their deepest physical processes to make sense of the world around them. (shrink)

In the present paper we address the issue of the role of the body in shaping our basic self-awareness. It is generally taken for granted that basic bodily self-awareness has primarily to do with proprioception. Here we challenge this assumption by arguing from both a phenomenological and a neurophysiological point of view that our body is primarily given to us as a manifold of action possibilities that cannot be reduced to any form of proprioceptive (...) awareness. By discussing the notion of affordance and the spatiality of the body we show that both have to be construed in terms of the varying range of our power for action. Finally, we posit that the motor roots of our bodily self-awareness shed new light on both the common ground for and the distinguishing criterium between self and other. The properties of the mirror mechanism indicate that the same action possibilities constituting our bodily self also allow us to make sense of other bodily selves inasmuch as their action possibilities can be mapped onto our own ones. Our proposal may pave the way towards a general deconstruction of the different layers at the core of our full-fledged sense of self and others. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

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

Medical science conceives the human body as a system comprised of many subsystems at a variety of levels. At the highest level are bodily systems proper, such as the endocrine system, which are central to our understanding of human anatomy, and play a key role in diagnosis and in dynamic modeling as well as in medical pedagogy and computer visualization. But there is no explicit definition of what a bodily system is; such informality is acceptable in documentation (...) created for human beings, but falls short of what is needed for computer representations. Our analysis is intended as a first step towards filling this gap. (shrink)

This paper argues that professionals who make boundary-related decisions should be guided by relationship-based practice. In our roles as service users and professionals, drawing from our lived experiences of professional relationships, we argue we need to move away from distance-based practice. This includes understanding the boundary stories and narratives that exist for all of us – including the people we support, other professionals, as well as the organisations and systems within which we work. When we are dealing with professional boundary (...) issues, we should centre relationship-building skills that are central to many other aspects of our work. Skills that foster relationships at all levels – between professionals, service users, and services – need to be revalued. Our final recommendation is to create, develop, and foster safer spaces within and outside of organisations, as well as inter-professionally, for the discussion and exploration of boundary-related issues and practice. We are interested in hearing from those with experiences of being marginalised by boundaries so that they can inform a reshaping of our collective ideas around boundary related practices. To foster relationship-based practices in organisations, we have outlined several recommendations here; however, we recognize that these do not go far enough, and that collective action is needed to inform systemic change. (shrink)

Surgeries inevitably raise questions of bodily integrity: how the post-surgical body reframes (or does not reframe) its experiences of functionality to incorporate new features. Nevertheless, when we try to define or delimit the concept of bodily integrity, it becomes increasingly important to think about how the physical and social unease caused by some forms of surgeries sits alongside the more transformative potential of surgical bodily modification. This article focuses on aesthetic genital surgeries on infants with (...) disorders of sex development (DSD, previously termed ‘intersex’ conditions). Using the work of Pierre Bourdieu and Elizabeth Freeman on time, bodies and ‘chrononormativity’, this article excavates not only the temporalities that produce what I would term ‘chrono-abnormalities’ of sex development, but also the temporalized medical responses, including surgeries, which retrieve ‘abnormal’ bodies into more normative time-lines. My conclusion is that when DSD-affected individuals experience aesthetic genital surgeries as painful and full of social unease this is not necessarily because the pre-surgical body was the ‘natural’, ‘whole’ or ‘intact’ body prior to surgery. Instead, it is because these surgeries interrupt what Bourdieu would term a sense of corporeal ‘immersion into the forthcoming’; an immersion which, in his theory of time as social action, is intimately linked with social power and possibilities. (shrink)

Our own body seems to be the object that we know the best for we constantly receive a flow of internal information about it. Yet bodily awareness has attracted little attention in the literature, possibly because it seems reducible to William James’s description of a “feeling of the same old body always there” (1890, p. 242). But it is not true that our body always feels so familiar. In particular, puzzling neurological disorders and new (...) class='Hi'>bodily illusions raise a wide range of questions about the relationship between the body and the self. Although most of the time we experience our body as our own, it is possible to report feeling parts of our body as alien. It is also possible to experience extraneous objects, such as prosthetic hands, as our own. Hence, what makes us feel this particular body as our own? The fact that we feel sensations there? The fact that we can voluntarily move it? Or the fact that it needs protection for self-preservation? To answer these questions, we need a better understanding of the various aspects of bodily self-awareness, including the spatiality of bodily sensations, their multimodality, their role in social cognition, their relation to action, and to self-defence. Mind the Body thus provides a comprehensive treatment of bodily awareness and of the sense of bodily ownership, combining philosophical analysis with recent experimental results from cognitive science. (shrink)

. In Minding God Gregory Peterson takes a careful look at the kind of freedom that human persons have. He concludes that humans are constrained to be free and unpacks this into a version of compatibilism. That is, humans are not metaphysically free under current existence because of the causal determination inherent in their physical nature, but they can take credit for the origination of selfforming decisions because the causes occur inside of us. Peterson does advocate an eschatological hope (...) looking forward to the breaking of causal determination by God's own action. Thus, Minding God presents an eschatologically limited compatibilism. Compatibilism of any kind, however, presents serious challenges to most Christian theologies and to many religious traditions broadly considered. After I interpret Peterson's position I make the argument that compatibilism is neither desirable nor required for a theological anthropology intent on serious engagement of cognitive science. (shrink)

In On the Soul and the Resurrection, St Macrina and St Gregory of Nyssa consider what the soul is, and its relationship to our body and identity. Gregory notes the way that our bodies are always changing, and asks which is most truly our ‘real’ body if we are always in a state of growth, decay and transience? What physical body will be with us at the resurrection? If our body is as important to our (...) identity as our soul, then who am I when my body changes? Macrina answers that our identity is bodily, but that the sufferings and passages of time that alter our bodies mean that we are an imperfect version of ourselves in this life. The person that we will be at the resurrection will be free from the influence of evil and the ravages of impermanence. Modern-day science fiction wrestles with Gregory’s problem—where is my identity located? If my body is altered beyond recognition, or my mind transferred to a new body, am I still me? These cyberpunk and transhumanist worries call to mind the ancient topic of mind/body dualism, and Macrina and Gregory have some surprisingly relevant insights to offer to our contemporary technological dilemmas. (shrink)

An at-home mindful movement practice-identify where you physically hold emotions, interpret your body's unique language, cultivate resilience, dispel emotional blockages, and improve your life with the power of movement.

Evidence from adult studies of deaf signers supports the dissociation between neural systems involved in processing visual linguistic and non-linguistic body actions. The question of how and when this specialization arises is poorly understood. Visual attention to these forms is likely to change with age and be affected by prior language experience. The present study used eye-tracking methodology with infants and children as they freely viewed alternating video sequences of lexical American sign language (ASL) signs and non-linguistic body (...) actions (self-directed grooming action and object-directed pantomime). In Experiment 1, we quantified fixation patterns using an area of interest (AOI) approach and calculated face preference index (FPI) values to assess the developmental differences between 6 and 11-month-old hearing infants. Both groups were from monolingual English-speaking homes with no prior exposure to sign language. Six-month-olds attended the signer’s face for grooming; but for mimes and signs, they were drawn to attend to the “articulatory space” where the hands and arms primarily fall. Eleven-month-olds, on the other hand, showed a similar attention to the face for all body action types. We interpret this to reflect an early visual language sensitivity that diminishes with age, just before the child’s first birthday. In Experiment 2, we contrasted 18 hearing monolingual English-speaking children (mean age of 4.8 years) vs. 13 hearing children of deaf adults (CODAs; mean age of 5.7 years) whose primary language at home was ASL. Native signing children had a significantly greater face attentional bias than non-signing children for ASL signs, but not for grooming and mimes. The differences in the visual attention patterns that are contingent on age (in infants) and language experience (in children) may be related to both linguistic specialization over time and the emerging awareness of communicative gestural acts. (shrink)

Anorexia nervosa, a disorder of voluntary food restriction leading to severe weight loss in female adolescents, remains an enigma. In particular, the appropriation of the starved thin body into the self-concept in AN is a process insufficiently researched and still poorly understood. Healthy humans undergoing starvation experience a slowing of movements and avoid voluntary exercise. By contrast, AN tends to be not infrequently associated with voluntary, sometimes excessive and/or compulsive exercise. Such deliberate exercise, not reported in starvation, seems to (...) be facilitated by an increased urge for movement and physical restlessness, particular to AN. The increased urge to move would reflect spontaneous daily activity, the energy expended for everything that is not sleeping, eating, or voluntary exercise. Our hypothesis is that the starvation-induced increased urge to move and restlessness may promote the development of AN. Reversal of the fasting state, by either high caloric food or by leptin administration, would be expected to reduce restlessness and the increased urge to move along with improvement in other symptoms in AN. This review explores the idea that such restless activation in AN, in itself and through accelerating body weight loss, might foster the integration of the starving body into the self-concept by enhancing the person’s sense of self-control and sense of achievement and through invigorating proprioception and through intensifying the perception of the changing body shape. Tentative evidence from studies piloting leptin administration in chronic AN patients which support this hypothesis is reviewed. The findings show that short term administration of high doses of leptin indeed mitigated depressive feelings, inner tension, intrusive thoughts of food, and the increased urge to be physically active, easing the way to recovery, yet had little influence on the patients’ personal commitment to remain at a low weight. Full recovery then requires resolution of the individuals’ personal unresolved psychological conflicts through psychotherapy and frequently needs specialized treatment approaches to address psychiatric co-morbidities. AN might be conceptualized as a hereditary form of starvation resistance, facilitated by the effects of starvation on fitness allowing for an exceptionally intense personal commitment to perpetuate food restriction. (shrink)