It is often held that to have a conscious experience presupposes having some form of implicit self-awareness. The most dominant phenomenological view usually claims that we essentially perceive experiences as our own. This is the so called “mineness” character, or dimension of experience. According to this view, mineness is not only essential to conscious experience, it also grounds the idea that pre-reflective self-awareness constitutes a minimal self. In this paper, we show that there are reasons to doubt this constituting role (...) of mineness. We argue that there are alternative possibilities and that the necessity for an adequate theory of the self within psychopathology gives us good reasons to believe that we need a thicker notion of the pre-reflective self. To this end, we develop such a notion: the Pre-Reflective Situational Self. To do so, we will first show how alternative conceptions of pre-reflective self-awareness point to philosophical problems with the standard phenomenological view. We claim that this is mainly due to fact that within the phenomenological account the mineness aspect is implicitly playing several roles. Consequently, we argue that a thin interpretation of pre-reflective self-awareness—based on a thin notion of mineness—cannot do its needed job within, at least within psychopathology. This leads us to believe that a thicker conception of pre-reflective self is needed. We, therefore, develop the notion of the pre-reflective situational self by analyzing the dynamical nature of the relation between self-awareness and the world, specifically through our interactive inhabitation of the social world. (shrink)

In two recent papers, I introduced the idea of embodied Rilkean movement knowledge and perception into the current philosophical debate on sports knowledge. In this paper, I offer a new analysis of how embodied movement knowledge and perception help us to identify and define movement consciousness. I develop a phenomenological account of embodied movement consciousness and show how it is closely linked to self-consciousness by generating anticipations and affordances that implicate pre-reflective self-awareness. I also expand Rowlands’ Rilkean memory notion to (...) include affective phenomenological properties that rely on the constitutive fault-lines between bodily material sensations and the ingrained recollections they are based on. From this perspective, embodied movement consciousness comprises empirical sensations that phenomenologically unfold as physical acts grounded in materiality. (shrink)

This article investigates the relationship between for-me-ness and sociality. I start by pointing out some ambiguities in claims pursued by critics that have recently pressed on the relationship between the two notions. I next articulate a question concerning for-me-ness and sociality that builds on the idea that, occasionally at least, there is something it is like ‘for us’ to have an experience. This idea has been explored in recent literature on shared experiences and collective intentionality, and it gestures towards the (...) question of the extent to which some social interactions make a difference in the phenomenal character of their participants’ experiences. Finally, I present a construal of for-us-ness that complements the received understanding of for-me-ness, by drawing on Alfred Schutz’ concept of the we-relationship, and on the idea of second-personal awareness, i.e. awareness of a ‘you’. The current proposal provides a suitable account of some basic forms of phenomenally manifest social connectedness, in a way that is cognitively undemanding and without incurring the costs of a sui generis plural pre-reflective self-awareness. (shrink)

We explore the nature of expert minds in skilled performance by examining classic Japanese dramatist Zeami’s account of skilled expertise in Noh drama. Zeami characterizes expert minds by the co-existence of mushin and riken no ken. Mushin is an empty state of mind devoid of mental contents. Riken no ken is a distinctive form of self-awareness, where the actor embodies a common perspective with the audience upon one’s own performance. Conventional accounts of riken no ken present it as a form (...) of imagination: expert actors deliver their performance by imagining what it looks like from an external point of view. These imagination-based accounts, however, do not square well with the claim that riken no ken co-exists with mushin. We propose an alternative perception-based account that better accounts for this co-existence, drawing on the concept of “situated normativity” from embodied-ecological theories of cognition. The situated normativity account characterizes riken no ken as a form of “direct affective perception” in which actors are aware of their performance’s quality of attunement with the performative situation. Expert Noh actors realise a common perspective with the audience not by imagining an external point of view, but by perceiving the situation that encompasses their own performance from an aesthetic perspective cultivated and shared within the Noh community. (shrink)

This anthology provides an accessible introduction to East Asian Buddhism, focusing specifically on China, Korea, and Japan. It begins with a detailed historical introduction that includes an overview of the development of the various schools of Buddhism in East Asia and traces the transmission of Buddhism from Northwest India to China in the first century CE, and then to Korea and Japan in the fourth and sixth centuries CE. The first part of the book contains five chapters that offer creative (...) pedagogies that can help college professors infuse East Asian Buddhism into their courses. The second part includes six interdisciplinary chapters that explore thematic links between East Asian Buddhism and religious studies, philosophy, film studies, literature, and environmental studies. (shrink)