Se aborda de forma crítica la exposición del desorden del espectro autista llevada a cabo en la quinta y última edición del Diagnostic and Statistical Manual of Mental Disorders, herramienta principal de muchos psiquiatras para comprender y diagnosticar cualquier psicopatología. Con este abordaje se busca evidenciar cómo, en el DSM-5, al igual que en la interpretación inaugurada por Baron-Cohen, Leslie y Frith, se deja de lado la experiencia y el cuerpo animado del paciente, por lo que es aconsejable un nuevo (...) acercamiento a dicho desorden que tenga fundamentos fenomenológicos. Se finaliza presentando un bosquejo de una fenomenología del desorden del espectro autista que reconoce la primacía del cuerpo animado en la experiencia del mundo, de sí mismo y de los otros. (shrink)

ABSTRACT Present-day fixations on “embodied minds,” and “enactive” assessments of life fail to recognize alive, moving bodies, precisely as James Joyce implicitly shows in his experience-anchored descriptions of the ineluctable modality of the visual and of the audible. Joyce's experience-anchored descriptions accord with Edmund Husserl's renditions of “the kinestheses” and their integral relationship to perception and to the development of agency. They furthermore accord with John Dewey's writing on aesthetics that describe the immediacy of motion into sense and sense into (...) motion in both nonhuman animal life and aesthetic experience. William James's connection of the stream of thinking with the stream of breathing is in further accord. Such accords show that animate forms of life are essentially mindful bodies sensuously and affectively attuned to their surrounding world. Cave art, both its creation and appreciation, is further testimony to mindful bodies as is internationally known musician Roger Sessions eloquent descriptions documenting the integrality of movement to all the arts. All such accords testify to the central and essential presence of the sense modality of movement—kinesthesia—and its bodily engaged dynamics in animate life and in art. (shrink)

This paper raises fundamental questions about the claims of art historian David Freedberg and neuroscientist Vittorio Gallese in their article "Motion, Emotion and Empathy in Esthetic Experience." It does so from several perspectives, all of them rooted in the dynamic realities of movement. It shows on the basis of neuroscientific research how connectivity and pruning are of unmistakable import in the interneuronal dynamic patternings in the human brain from birth onward. In effect, it shows that mirror neurons are contingent on (...) morphology and corporeal-kinetic tactile-kinesthetic experience. Accordingly, it poses and answers the overlooked but seminally important question of how mirror neurons come to be. The original neuromuscular research of Parma neuroscientists and the findings of Marc Jeannerod concerning kinesthesia support the answer that the "underpinnings" of visual art appreciation are themselves underpinned. An abbreviated phenomenological analysis of movement and its implications regarding the fact that the making of all art is quintessentially contingent on movement, hence a dynamic enterprise, further bolster the given answer as does a brief review of an empirical phenomenological analysis of the natural dynamic congruency of emotions and movement. In the end, the paper shows that movement and life are of a piece in the creation and appreciation of art as in everyday life. (shrink)

A critical assessment of Merleau-Ponty’s conception of phenomenology highlights singular differences between Husserl’s phenomenological methodology and existential analysis, between epistemology and ontology, and between essential and individualistic perspectives. When we duly follow the rigorous phenomenological methodology described by Husserl, we are confronted with the challenge of making the familiar strange and with the challenge of languaging experience. In making the familiar strange, we do not immediately have words to describe what is present, but must let the experience of the strange (...) resonate for some time, and even then, must return to it many times over to pinpoint its aspects, character, or quality in descriptively exacting ways. Moreover as Husserl points out, language can seduce us into thinking we know when we do not know. The methodology thus highlights the import of being true to the truths of experience, and in doing so, authenticates the basic value of a phenomenological methodology to the human sciences. (shrink)

This article begins with a summary phenomenological analysis of movement in conjunction with the question of “quality” in movement. It then specifies the particular kind of memory involved in a dancer’s memorization of a dance. On the basis of the phenomenological analysis and specification of memory, it proceeds to a clarification of meaning in dance. Taking its clue from the preceding sections, the concluding section of the article sets forth reasons why present-day cognitive science is unable to provide insights into (...) dance, notably because being largely tethered to happenings in the brain, it lacks foundational grounding in experience, specifically, the actual experience of movement, which is to say in kinesthesia. (shrink)

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)

How do we feel our body in emotion experience? In this paper I initially distinguish between foreground and background bodily feelings, and characterize them in some detail. Then I compare this distinction with the one between reflective and pre-reflective bodily self-awareness one finds in some recent philosophical phenomenological works, and conclude that both foreground and background bodily feelings can be understood as pre-reflective modes of bodily self-awareness that nevertheless differ in degree of self-presentation or self-intimation. Finally, I use the distinction (...) between foreground and background bodily feelings to characterize the experience of being absorbed in an activity, as opposed to accounts that imply that absorption involves bodily inconspicuousness. (shrink)