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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 (...) |
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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 (...) |
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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 (DSM-5), 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 (...) |
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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 (...) |
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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 (...) |
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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 (...) |
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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 (...) |
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