This article highlights a neglected, if not wholly overlooked, topic in phenomenology, a topic central to Husserl’s writings on animate organism, namely, animation. Though Husserl did not explore animation to the fullest in his descriptions of animate organism, his texts are integral to the task of fathoming animation. The article’s introduction focuses on seminal aspects of animate organisms found within several such texts and elaborates their significance for a phenomenological understanding of animation. The article furthermore highlights Husserl’s pointed recognition of (...) “the problem of movement,” movement being an essential dimension of animation if not definitive of animation itself. Succeeding sections testify to “the problem of movement” and the need to address it. They do so by answering the following basic questions: What indeed is livingly present in the experience of movement, whether our own movement and the movement of other animate beings, or the movement of leaves, clouds, and so on? What distinguishes kinesthetic from kinetic experiences of movement? How are movement and time related? Just what is the problem of movement and how do we address it? In what way is movement pertinent to receptivity and responsivity? Throughout these sections the article encompasses phenomenological analyses, elaborations, and implications of animation. (shrink)

This article aims to explore the relation between body and space – specifically how the relation between the embodied awareness of movement and the sense of one’s body-space can be modified and changed deliberately in different kinds of dance practices. Using a multi-sited design, the ethnographical fieldwork, which formed the empirical ground for the study, was from the outset focused on acknowledging the diversity of the dancers’ practices. Each in their own way, the 13 professional dancers involved in the study (...) relate to and experience bodied potentialities, body-space and the spatiality of movement differently. Through their practice, they indicate that the body image is shaped through a multisensorial process of reification, and that seeing is to be related to a broader perceptual engagement. Furthermore, they exemplify how seeing can be deliberately used to expand the sense of their body-space and thereby to affect the spatiality of the fields of their embodied interaction. (shrink)

This paper discusses possible correspondences between neuroscientific findings and phenomenologically informed methodologies in the investigation of kinesthetic empathy in watching dance. Interest in phenomenology has recently increased in cognitive science (Gallagher and Zahavi 2008 ) and dance scholars have recently contributed important new insights into the use of phenomenology in dance studies (e.g. Legrand and Ravn (Phenomenology and the Cognitive Sciences 8(3):389–408, 2009 ); Parviainen (Dance Research Journal 34(1):11–26, 2002 ); Rothfield (Topoi 24:43–53, 2005 )). In vision research, coherent neural (...) mechanisms for perceptual phenomena were uncovered, thus supporting correlation of phenomenology and neurophysiology Spillmann (Vision Research 49(12):1507–1521, 2009 ). Correspondingly, correlating subjects’ neurophysiological data with qualitative responses has been proposed as a means to research the human brain in the study of consciousness (Gallagher and Zahavi 2008 ), with similar issues in clinical psychology Mishara (Current Opinion in Psychiatry 20(6):559–569, 2007 ) and biology Kosslyn et al. (American Psychologist 57:341–351, 2002 ). Yet the relationship between neuroscience and qualitative research informed by phenomenology remains problematic. How qualitative research normally handles subjective experiences is difficult to reconcile with standard statistical analysis of objective data. Recent technological developments in cognitive neuroscience have inspired a number of researchers to use more naturalistic stimuli, outside the laboratory environment, such as dance, thereby perhaps helping to open up the cognitive sciences to more phenomenologically informed approaches. A question central to our research, addressed here, is how the phenomenal experiences of a dance audience member, as accessed by qualitative research methods, can be related to underlying neurophysiological events. We outline below some methodological challenges encountered in relating audiences’ first-person accounts of watching live dance performance to neurophysiological evidence of their experiences. (shrink)

In this article, we inquire into Maxine Sheets-Johnstone and Michele Merritt’s descriptions and use of dance improvisation as it relates to “thinking in movement.” We agree with them scholars that improvisational practices present interesting cases for investigating how movement, thinking, and agency intertwine. However, we also find that their descriptions of improvisation overemphasize the dimension of spontaneity as an intuitive “letting happen” of movements. To recalibrate their descriptions of improvisational practices, we couple Ezequiel Di Paolo, Thomas Buhrmann, and Xabier E. (...) Barandiaran’s enactive account of the constitution of agency with case studies of two expert performers of improvisation: a dancer and a musician. Our analyses hereof show that their improvisations unfold as a sophisticated oscillation of agency between specialized forms of mental and bodily control and, indeed, a more spontaneous “letting things happen.” In all, this article’s conclusions frame thinking in movement concerning improvisational practices as contextually embedded, purposively trained, and inherently relational. (shrink)

In his recent works on daily face-to-face encounters, Zahavi claims that the phenomenon of sharing involves reciprocity. Following Zahavi’s line of thought, we wonder what exactly reciprocity amounts to and how the shared experience emerges from the dynamic process of interaction. By turning to the highly specialized field of elite sports dance, we aim at exploring the way in which reciprocity unfolds in intensive deliberate practices of movement. In our analysis, we specifically argue that the ongoing dynamics of two separate (...) flows of movement constitute a shared experience of dancing together. In this sense, moving together, in sports dance, is a practical way of understanding each other. In agreement with Zahavi, our analysis emphasizes the bi-directed nature of sharing. However, at the same time, we contribute to Zahavi’s ongoing endeavour as the special case of sports dance reveals how reciprocity can be deliberately shaped through the mutual coordination and affective bound dynamics of movement. Our article thus both pursues the methodological point that qualitative research of expert competences can constructively enrich phenomenological analysis and indicates how movement can be fundamental to the reciprocity of shared experience. (shrink)