Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at best (...) treated as a peripheral phenomenon. In this article I argue that the failure to place art and aesthetics at the center of thought within phenomenology leads to a neglect of the expressive primacy of the body in movement. In the current naturalization of phenomenology the questions related to expressive movement are often consigned to the notions of motor intentionality or gesture. However, in his book How the Body Shapes the Mind the philosopher Shaun Gallagher interestingly concludes, based on experimental results, that bodily movements of gesture cannot be accounted for by the phenomenologically adapted notions of ‘body image’ and ‘body schema’. Symptomatically, Gallagher ends his chapter on bodily gesture with a section title asking the relevant question that remains unanswered within a phenomenology of mind: Expressive movement from the beginning? The search for an answer to this question points, in my view, to the possibility of a more radical understanding of the embodied mind based on the primacy of expressive experimentation rather than representational experience, which makes the question of art and aesthetics a core issue. Following the image of thought in the philosophy of Gilles Deleuze I argue that art, as the production of sensation through experimentation, presents us with a mode of thinking that accounts for expressive bodily movement as a constitutive force in subjective thought and experience. (shrink)

The strong embodied mind thesis holds that the particular details of one’s embodiment shape the phenomenological and cognitive nature of one’s mind. On the face of it, this is an attractive thesis. Yet strong embodiment faces a number of challenges. In particular, there are three prominent misconceptions about the scope and nature of strong embodiment: 1) that it violates the supposed multiple realizability of mentality; 2) that it cannot accommodate mental representation; and 3) that it is inconsistent with the extended (...) mind thesis according to which mentality extends, not only beyond brain, but beyond body as well. In this paper, we seek to dispel these three misconceptions by explaining what strong embodiment does and does not entail. (shrink)

We experience our own body through both touch and vision. We further see that others’ bodies are similar to our own body, but we have no direct experience of touch on others’ bodies. Therefore, relations between vision and touch are important for the sense of self and for mental representation of one’s own body. For example, seeing the hand improves tactile acuity on the hand, compared to seeing a non-hand object. While several studies have demonstrated this visual enhancement of touch (...) effect, its relation to the ‘bodily self’, or mental representation of one’s own body remains unclear. We examined whether VET is an effect of seeing a hand, or of seeing my hand, using the rubber hand illusion. In this illusion, a prosthetic hand which is brushed synchronously—but not asynchronously—with one’s own hand is felt to actually be one’s hand. Thus, we manipulated whether or not participants felt like they were looking directly at their hand, while holding the actual stimulus they viewed constant. Tactile acuity was measured by having participants judge the orientation of square-wave gratings. Two characteristic effects of VET were observed: cross-modal enhancement from seeing the hand was inversely related to overall tactile acuity, and participants near sensory threshold showed significant improvement following synchronous stroking, compared to asynchronous stroking or no stroking at all. These results demonstrate a clear functional relation between the bodily self and basic tactile perception. (shrink)

The aim of this article is to focus on the body as instrument or means in performance-art. Since the body is no monolithic given, the body is approached in terms of its constitutive layers, and this may enable us to conceive of the mechanisms that make performances possible and operational, i.e. those bodily mechanisms that are implicitly or explicitly controlled or manipulated in performance. Of course, the exploitation of these bodily layers is not solely responsible for the generation of meaning (...) in performance. Yet, it is that what fundamentally /enables/ the generation of sense and signification in performance-art. To approach the body in terms of its layers, from body image and body schema to in-depth body, may partly answer the complexity at work in art performances, since these concepts enable us to consider, on a theoretical level, the body as represented object, as subject, as motor means for being-in-the-world, as origin of subjectivity and emotions, as hidden but most intimate place of impersonal life processes, as possibly distant image, as sensitive, fragile and plastic entity, as something we own and are owned by, as our most personal and yet extremely strange body. (shrink)

The naturalization of consciousness and the way a subjective perspective arises are hotly debated both in the cognitive sciences and in more strictly philosophical contexts. A number of these debates, mainly inspired by neuroscientific findings, focus on the ‘visceral’ dimension of the body in order to formulate a hypothesis for the coming about of consciousness. This focus on what might be called the ‘in-depth body’ shows that consciousness or the subjective perspective is intimately linked with vital and visceral regulatory processes.I (...) join the debate by arguing that representationalist accounts of the origin of consciousness in the in-depth body exhibit a number of flaws hitherto mainly unnoticed. Furthermore, some aspects of neuroscientific theories are explored as possible validations of a nonrepresentationalist model of consciousness and the subjective perspective. Inspired by phenomenological philosophy, I present a hypothesis in which the subjective perspective constitutes itself and in which the ‘in-depth’ body is not the object of representations in the brain. Rather, the ‘in-depth body’ is in a non-objectified way built-in in the subjective perspective itself. In this account, therefore, the subjective perspective looses its transparency and gains ‘interoceptive thickness’. (shrink)

Body image and body schema refer to two different yet closely related systems. Whereas BI can be defined as a system of perceptions, attitudes, and beliefs pertaining to one's own body, BS is a system of sensory-motor capacities that functions without awareness or the necessity of perceptual monitoring. Studies have demonstrated that applying the concepts of BI and BS enables us to conceptualize complex pathological phenomena such as anorexia, schizophrenia, and depersonalization. Likewise, it has further been argued that these concepts (...) play a crucial role in our ability to grasp our bodily experiences in the socio-cultural world according to various factors, such as gender, social class, and ethnicity. Referring to the insights of Frantz Fanon, the author of Black Skin, White Masks, this paper suggests that under certain conditions the BI can take over and reshape the BS. Based on an examination of Fanon’s writings, the paper suggests that not only the BI can truly remold the BS but that the gaze of the other can directly influence the BI. (shrink)