Theories of face-to-face interaction employ a concept of spatial presence and view communication via digital technologies as an inferior version of interaction, often with pathological implications. Current studies of mediatized communication challenge this notion with empirical evidence of “telepresence”, suggesting that users of such technologies experience their interactions as immediate. We argue that the phenomenological concepts of the lived body and mediated immediacy (Helmuth Plessner) combined with the concept of embodied space (Hermann Schmitz) can help overcome the pathologizing of digital (...) communication in social theory and enable descriptions which are truer to the experience of using said technology. From this perspective it appears as an ethnocentric premise to restrict interaction to human actors being present in local space. This restricted understanding of interaction does not allow for an appropriate empirical analysis of the emerging structures of digital communication. (shrink)

This article proposes a communicative, imitative, and reflective account of musical learning and expertise. It starts from an affirmative yet critical reading of Høffding and collaborators, notably their idea of a musical arch, meant to bridge distinctions between low-level procedural enactment and high-level reflective cognition. While we embrace much of their analysis, we argue that they uphold tensions between these levels. Drawing on recent enactivist thought, phenomenological and hermeneutic resources, and developmental psychology, we propose a ‘linguistic turn’ that allows us (...) to situate the enactive body in what has been called an ‘original communication-situation’. The original communication-situation encompasses procedural proto-linguistic behaviour and a reflexive level of linguistic co-intentionality procedurally coupled with other bodies. From this perspective, musical co-creation within the normative space of the musical arch is a dialectical actualization of vertical and horizontal experience, reflecting transformative accomplishments of symbolic bodies within a linguistic field of participatory sense-making. The normative space of musical performance is the result of emergent features of music as embodied social practice. (shrink)

In this paper, I argue that Heisenberg's mature philosophy of quantum mechanics must be understood in the context of his epistemological project to reinterpret and redefine Kant's notion of the a priori. After discussions with Weizsäcker and Hermann in Leipzig in the 1930s, Heisenberg attempted to ground his interpretation of quantum mechanics on what might be termed a 'practical' transformation of Kantian philosophy. Taking as his starting point, Bohr's doctrine of the indispensability of classical concepts, Heisenberg argued that concepts such (...) as space, time and causality can be regarded as 'practically a priori', in so far as they remain the conditions for the possibility of experience and even of 'objective reality', though they are not universal and necessary in a strictly Kantian sense. We cannot avoid using classical concepts in the description of experiments in quantum theory, despite the fact that there are limits to their applicability. Such concepts are, for Heisenberg, historically contingent, yet indispensable in our time, because we have no other language through which we can describe and conceive of the interaction between 'object' and 'measuring device'. (shrink)

This article takes its point of departure from the second (embodied) linguistic turn represented by the enactivist notion of humans as linguistic bodies, using resources from Hans Georg Gadamer in order to propose a view of the relation between art and everyday experience as one of symbolic transformation. Conceiving art as a form of linguistic phenomenon wherein one can engage in original situations of communication, this view rejects both autonomist and direct continuity views of the art-everyday relation. We start by (...) situating the idea of linguistic bodies within the enactive approach, spelling out relevant aspects concerning the significance of language for human life and perception (Sect. 2). Then we embark on a discussion of aspects of Shaun Gallagher’s and Alva Noë’s enactivist perspectives on art experience, highlighting places where their views align with and depart from ours (Sect. 3). The last two sections aim to lay out the transformative view in more detail, proposing a pluralistic understanding of art media and a view of art and art experience as modes of ideational, embodied thought (Sects. 4 and 5). (shrink)