Midwest Studies In Philosophy, Volume 44, Issue 1, Page 239-259, December 2019: -/- When people speak or write of “embodied” in one form or another, as in embodied mind, embodied cognition, embodied language, embodied self, and so on, they implicitly look past if not outright deny the realities of evolution. Animate life evolves on the basis of different morphologies. Animals with differing morphologies establish not merely different niches but different modes of living, which in the most fundamental sense means establishing (...) distinctive repertoires of movement—different ways of doing everyday things. Certain movements within one species’ repertoire may nevertheless coincide with certain movements within the repertoire of other species, as, for instance, the movement known as presenting, which occurs in multiple primate species in two different contexts: as a sexual invitation and as an aggression deterrent. That certain movements can have the same significance across species does not diminish the distinctiveness of any repertoire but attests to the evolutionary heritage of a species, namely its anchorage in morphology, that is, in bodily templates and possible variations of the same, all of which templates and possible variations translate into distinctive movement possibilities and definitive repertoires of movement. (shrink)

The aim of this paper is to provide a theoretical and formal framework to understand how the proprioceptive and kinesthetic system learns about body position and possibilities for movement in ongoing action and interaction. Whereas most weak embodiment accounts of proprioception focus on positionalist descriptions or on its role as a source of parameters for internal motor control, we argue that these aspects are insufficient to understand how proprioception is integrated into an active organized system in continuous and dynamic interaction (...) with the environment. Our strong embodiment thesis is that one of the main theoretical principles to understand proprioception, as a perceptual experience within concrete situations, is the coupling with kinesthesia and its relational constitution—self, ecological, and social. In our view, these aspects are underdeveloped in current accounts, and an enactive sensorimotor theory enriched with phenomenological descriptions may provide an alternative path toward explaining this skilled experience. Following O'Regan and Noë sensorimotor contingencies conceptualization, we introduce three distinct notions of proprioceptive kinesthetic-sensorimotor contingencies, which we describe conceptually and formally considering three varieties of perceptual experience in action: PK-SMCs-self, PK-SMCs-self-environment, and PK-SMC-self-other. As a proof of concept of our proposal, we developed a minimal PK model to discuss these elements in detail and show their explanatory value as important guides to understand the proprioceptive/kinesthetic system. Finally, we also highlight that there is an opportunity to develop enactive sensorimotor theory in new directions, creating a bridge between the varieties of experiences of oneself and learning skills. (shrink)

The hyletic component of kinaesthetic sensation has generally been treated with suspicion. It is usually set aside in favour of Husserl’s later analysis of kinaesthetic experience which emphasizes its practical dimension. I try to show that a nuanced understanding of the hyletic component allows us to consider its deeper temporal function. From a rather neglected passage in his Ding und Raum I show that Husserl was aware of the temporal peculiarity of kinaesthetic sensation: it is characterized by a unique kind (...) of “sameness”. I then try to explain how the hyletic dimension of kinaesthetic sensation is responsible for this peculiarity. By escaping the contingencies of protentional fulfilment kinaesthetic hyle merely unifies in an actual “belonging-together” our sensing of position and the motivation of the correlative appearances. It is on this basis that it fundamentally shapes at a passive-hyletic level the complex temporal dynamic of the practical dimension of kinaesthetic experience. (shrink)

Human perception has long been a critical subject of design thinking. While various studies have stressed the link between thinking and acting, particularly in spatial experience, the term “design thinking” seems to disconnect conceptual thinking from physical expression or process. Spatial perception is multimodal and fundamentally bound to the body that is not a mere receptor of sensory stimuli but an active agent engaged with the perceivable environment. The body apprehends the experience in which one’s kinesthetic engagement and knowledge play (...) an essential role. Although design disciplines have integrated the abstract, metaphoric, and visual aspects of the body and its movement into conceptual thinking, studies have pointed out that design disciplines have emphasized visuality above the other sensory domains and heavily engaged with the perception of visual configurations, relying on the Gestalt principles. Gestalt psychology must be valued for its attention to a whole. However, the theories of design elements and principles over-empathizing such visuality posit the aesthetics of design mainly as visual value and understate other sensorial and perceptual aspects. Although the visual approach may provide a practical means to represent and communicate ideas, a design process heavily driven by visuality can exhibit weaknesses undermining certain aspects of spatial experience despite the complexity. Grounded in Merleau-Ponty’s notion of multisensory perception, this article discusses the relationship between body awareness and spatial perception and its implication for design disciplines concerning built environments. Special attention is given to the concepts of kinesthetic and synesthetic phenomena known as multisensory and cross-sensory, respectively. This discussion integrates the corporeal and spatiotemporal realms of human experience into the discourse of kinesthetic and synesthetic perceptions. Based on the conceptual, theoretical, and precedent analyses, this article proposes three models for design thinking: Synesthetic Translation, Kinesthetic Resonance, and Kinesthetic Engagement. To discuss the concepts rooted in action-based perception and embodied cognition, this study borrows the neurological interpretation of haptic perception, interoception, and proprioception of space. This article suggests how consideration of the kinesthetic or synesthetic body can deepen and challenge the existing models of the perceptual aspects of environmental psychology adopted in design disciplines. (shrink)