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)

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)

Using the work of philosopher Henri Bergson to examine the nature of movement and memory, this article contributes to recent research on the role of the body in learning mathematics. Our aim in this paper is to introduce the ideas of Bergson and to show how these ideas shed light on mathematics classroom activity. Bergson’s monist philosophy provides a framework for understanding the materiality of both bodies and mathematical concepts. We discuss two case studies of classrooms to show how the (...) mathematical concepts of number and function are themselves mobile and full of potentiality, open to deformation and the remapping of the possible. Bergson helps us look differently at mathematical activity in the classroom, not as a closed set of distinct interacting bodies groping after abstract concepts, but as a dynamic relational assemblage. (shrink)

In this article we present a phenomenological single-case study of a client’s experience of her therapist’s bodily movement in the context of narrative therapy. A client was interviewed regarding her experience of selected bodily movements of the therapist based on a video recording of one of her therapeutic sessions. The movements were analyzed through Maxine Sheets-Johnstone’s cardinal structures of movement while the interview was analyzed through a modification of Giorgi’s method for phenomenological psychology. We focused on the relationship between the (...) therapist’s bodily movement and therapeutic movement in the client and arrived at general structures of the client’s experience of being moved by movement. The experience comprises three core constituents: ‘shifts in sense of self’, ‘sense of togetherness’ and ‘feelings of mobility’, and reveals that the therapist’s bodily movements can lead to therapeutic changes compatible with the aim of narrative therapy. (shrink)