In this paper, I will focus on the process of constitution of oneself as an embodied being and, more precisely, on the specific way in which one can experience oneself not just as an embodied self, but rather as the actual embodied person he/she is. I will start by describing the most basic way in which our embodied self is constituted, that is as a felt-feeling body and as the zero-point of orientation of all our sensations and perceptions. Then, I (...) will show how our body can be constituted for us also as an instrument for action, leading to the experience of what Husserl called “I-can”. I will argue that, even though in this latter form of body awareness we can experience some traits of our own personality, a further dimension of our embodied life – that is, the expressive one – allows us to have a more defined experience of the specific embodied persons we are. I will describe what “person” specifically means in my framework and, on this basis, I will show how the expressive dimension of our body can account for my experience of myself not just as an embodied self, but as the embodied person I am. (shrink)

Ambiguity in our experience of embodiment online has prevented us from confidently extending existing scholarship to the domain of online sociality. In recent decades, research across the disciplines has been undergirded by themes related to embodiment, restoring to prominence a theme previously neglected in part thanks to the rise of feminist scholars within the academy. We have not, however, adequately appealed to this corpus when theorizing forms of life happening online. In this paper I hope to bridge this gap by (...) bringing forward phenomenological evidence about the nature of online embodiment. This paper presents the findings from a research project that used phenomenological interviews to elicit descriptions of lived embodiment from participants singing in online choirs during the COVID-19 pandemic. I argue that these descriptions reveal anchoring and discounting as central features of their experience, two dynamics of the body schema as described by Merleau-Ponty in the Phenomenology of Perception that underpin participant experiences of sensory disjunction. I furthermore take pains to show how the form of embodiment operative in the online choirs has the characteristics of intercorporeality, a reciprocal two-sided form of embodied subjectivity. After explaining how Husserl and Merleau-Ponty each define intercorporeality, I suggest that what I am calling an auditory intercorporeality underlies reported features of participant experience in the choirs, such as we-experience and coordination. (shrink)

In this paper I focus on possible boosting factors for the sense of we-agency in joint actions. My aim is to shed light on a factor that, until now, has received little or no consideration at all, and that I call _vitality attunement_. I argue that vitality attunement stands between two other boosting factors for the sense of we-agency—i.e., rhythmic alignment and emotional attunement. Investigating two examples of joint action, i.e., dancing and joint musical performances, I show that vitality attunement (...) is not reducible to either of the other two boosting factors and that it deserves to be studied on its own as a distinctive boosting factor for the sense of we-agency. In order to argue for my thesis, I first introduce some of the most crucial aspects of the sense of we-agency in joint actions, then I analyze how rhythmic alignment and emotional attunement have been argued to foster such an experience, and finally I introduce vitality attunement, describing how it too can be a boosting factor for the sense of we and of we-agency. (shrink)