Dem Alltagsverständnis zufolge bringt uns die Wahrnehmung in einen Kontakt mit der Wirklichkeit. Die Stabilisierung der Wahrnehmungsgewissheit ist tief im subjektiven Bildungsprozess verankert, hat sich alltagspraktisch bewährt und in der Sprache sedimentiert. Andererseits hat sich durch Erfahrungen kultureller Diversität und sozialer Differenz auch die Auffassung verbreitet, dass die Welt nur gleichsam durch die Brille spezifischer Herkünfte und Zugehörigkeiten wahrgenommen wird. Die Spannung zwischen realistischen und konstruktivistischen Interpretationen des menschlichen Weltbezugs bildet die Ausgangssituation, mit der sich die Beiträge zu dem geplanten (...) Sammelband In Kontakt mit der Wirklichkeit. Interdisziplinäre Beiträge zur Situiertheit der Wahrnehmung auseinandersetzen. Ziel ist es, die Wahrnehmungsgewissheit des direkten Realismus zu verteidigen, ohne die berechtigten Einwände außer Acht zu lassen. Nicht nur der Begriff der Wahrnehmung wird dabei einer grundlegenden Prüfung unterzogen, sondern auch der Begriff der Wirklichkeit und mit ihm ein angemessenes Verständnis davon, als leiblich verkörperte Individuen in einer gemeinsam geteilten Welt zu sein. (shrink)

In exploring skilled performance in Contact Improvisation, we utilize an enactive ethnographic methodology combined with an interdisciplinary approach to examine the question of how skill develops in CI. We suggest this involves the development of subtleties of awareness of intra- and interkinaesthetic attunement, and a capacity for interkinaesthetic negative capability—an embodied interpersonal ‘not knowing yet’—including an ease with being off balance and waiting for the next shift or movement to arise, literally a ‘playing with’ balance, falling, nearly falling, momentum and (...) gravity. We draw on insights from an interdisciplinary approach, including from a developmental perspective concerning the experience of dyadic interpersonal embodied skill development in both infancy and CI. Building on Ravn and Høffding’s definition of expertise in improvisation as an “oscillatory process of assuming and relinquishing agency” we propose that a key aspect of expertise in CI involves oscillation between levels and processes of interkinaesthetic sense of agency. These interdisciplinary insights also elucidate limitations within current conceptualisations of sense of agency, including the relationship between sense of agency and sense of control. (shrink)

This article offers critical and constructive perspectives essential to understanding living bodies, and, in effect, to showing that kinesthesia, tactility and affectivity matter because they are central to animate life. Critical perspectives focus on practices that distance us from the lived realities of animate nature, on insights into those realities, and on ways in which language is intimately related to those realities. Constructive perspectives focus on ontogenetic studies that empirically testify to our being animate organisms from the start. The studies (...) validate Husserl’s insight into the developmental progression from ‘I move’ to ‘I do’ to ‘I can’. On the basis of these perspectives, concluding observations focus on the mutual validation of empirical and phenomenological research, on the distinction between movement and objects in motion, on the distinction between perceiving and feeling one’s body, and on the distinction between having a body and being a body. (shrink)

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)

ABSTRACTThis article considers the relationship of Heidegger's metaphysics of Being-toward-death to what Heidegger describes as “the enigma of motion,” that is, to Dasein's “historicality.” In doing so, the article confronts a series of questions concerning fundamental realities of animate life, realities centering on angst in the face of death, but including curiosity and fear, for example, all such realities being what Heidegger terms “states-of-mind” or “moods.” Thus, the article basically questions Heidegger's elision of a Leibkörper, not only in terms of (...) feelings but in terms of an exaltation of language, an insular notion of Dasein's historicality, and a narrow and deficient depiction of animals in his “philosophical biology.” Through a critical examination of the phenomenological disclosure that Heidegger seeks in his metaphysics of Being-toward-death, the article shows that death and the very concept of death hinges on being a body, a temporally finite animate body. Thus, however metaphysical its exposition, Being-toward-death is existentially anchored in being a body. (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)

The technological virtual converges with our contemporary existence in a multitude of ways, which suggests a need to interrogate the question of the virtual existentially. Merleau-Ponty’s existential phenomenological account of embodiment is invaluable in this regard because the virtual is encountered from the basis of the facticity of the embodied individual – a facticity that is closely related to perception and motor intentionality. The current article argues that these characteristics of the body-subject should be taken into consideration in order to (...) develop a clearer description of the virtual. However, beyond an embodied account that relates to early technologies, Merleau-Ponty also presents through his concept of the flesh a novel avenue for the ontological investigation of the virtual. The flesh describes the intertwining of the body-subject and the world, which is suggestive of a new account of the individual’s sensibility in relation to the virtual. An original concept is suggested to describe the existential-ontological structure of the virtual: The embodied screen. The embodied screen as neologism presents an alternative conceptualisation of the coincidence of the body-subject (who understands the world spatially) with the virtual (as non-spatial). By tracing imaginative signification and embodied habitude in terms of the virtual, this article suggests certain existential implications of the virtual for contemporary being. (shrink)

Within the last fifty years as philosophy, psychology, and cognitive science have moved towards increasingly more embodied theoretical frameworks, there has been growing interest in Dance Movement Therapy. DMT has been shown to be effective in mitigating negative symptoms in several psychopathologies including PTSD, autism, and schizophrenia. Further, DMT generally helps participants gain a stronger sense of agency and connection with their body. However, it has been argued that it is not always clear what constitutes these changes in DMT participants. (...) I argue that we can better understand the empirical and phenomenological results of DMT across psychopathologies if we adapt an enactive embodied approach to cognition. I use the framework of embodied enactive cognition and narrative theories of the self to develop an account of DMT as a form of narrative change. I claim that through the acquisition of new bodily skill and bodily awareness, DMT can cause changes to the participant’s narrative self-understanding. (shrink)

A phenomenological model is developed as an alternative to current analyses of the imagination in sport philosophy, heirs to an Enlightenment notion that conceptualizes imaginings as abstract, eidetic, and representational. EC describes how Eidetic and Corporeal Imaginings phenomenologically structure our imaginative undertakings. EIs keep the ‘ideal’ aspect, but CIs—enacted, corporeal, non-representational—are more fundamental and foundational. Sports are particularly suited to express CIs’ muscular imaginings, which result in novel performances. An enactive framework theorizes CIs as non-representational interactions.

Exploring the intimate tie between body movement and space and time, Lee begins with the position that body movement generates space and time and explores the ethical implications of this responsibility for the situations one’s body movements generate. Whiteness theory has come to recognize the ethical responsibility for situations not of one’s own making and hence accountability for the results of more than one’s immediate personal conscious decisions. Because of our specific history, whites have developed a particular embodiment and body (...) movement that generates places that can only be characterized as more comfortable and more enabling to whites. (shrink)

The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic (...) interactivity between an organism and its environment. More recently, this perspective has been applied to the study of emotion in general, opening up interesting new possibilities for theory and research. This new approach, however, has received rather limited attention in musical contexts. With this in mind, we critically review the history of music and emotion studies, arguing that many existing theories offer only limited views of what musical-emotional experience entails. We then attempt to provide preliminary grounding for an alternative perspective on music and emotion based on the enactive/dynamic systems approach to the study of mind. (shrink)

_Philosophers consider race and racism from the perspective of lived, bodily experience._.

Recently, in cognitive science, the enactivist account of cognition has been gaining ground, due in part to studies of movement in conjunction with thought. The idea, as Noë , has put it, that “cognition is not something happening inside us or to us, but it’s something we do, something we achieve,” is increasingly supported by research on joint attention, movement coordination, and gesture. Not surprisingly, therefore, enactivists have also begun to look at “movement specialists”—dancers—for both scientific and phenomenological accounts of (...) thinking with and through movement. In this paper, I argue that a serious exploration of dance and movement does not merely bolster the enactivist view, but rather, it suggests a radical enactivism, as envisaged by, e.g., Hutto . To support this claim, I examine an account of “Thinking in Movement” provided by Maxine Sheets-Johnstone in order to highlight the ways in which intentional agency and meaning-making occur in improvisational dance. These processes, I further argue, closely mirror some of the key components of participatory sense making, as described by De Jaegher and Di Paolo :485–507, 2007). This is beneficial to my case, because it permits a discussion of “thought-full action” that does not depend upon standard cognitivist frameworks for explanation. By carefully focusing on how agency can help to separate mere “thrashing about” from meaningful movement, this paper aim to strengthen the position of radical enactivism from the unique perspective and dance and sense-making. (shrink)

In this paper, I argue that modelling occupies a curious role in the art making process, and that it constitutes a hybrid art form. Modelling is intriguingly under-research in aesthetics, despite it being a cornerstone of art education and deeply involved in various art practices. It functions both within a supportive role to further the goals of art making, while also retaining the creative agency and performance of the professional model upon which the artist, photographer, or wider crew rely. This (...) ability entails not merely helping to steer a posing session, but experimenting with and adapting to any unexpected issues that arise in the course of the session. To understand the salient performative qualities of modelling, I first focus on expert movement, improvisation, and style. Second, I reflect on how modelling corresponds to creativity and skill. Finally, I propose that the model is a performer, and that, ultimately, modelling should be recognised as a hybrid collaborative art form which incorporates qualities of various performing arts. (shrink)

As a contribution to the burgeoning field of health humanities, this paper seeks to explore the power of dance to mitigate human suffering and reacquaint us with what it means to be human through bringing the embodied practice of dance into dialogue with the work of the French philosopher Maurice Merleau-Ponty. Merleau-Ponty’s conceptualisation of subjectivity as embodied and of intersubjectivity as intercorporeality frees us from many of the constraints of Cartesian thinking and opens up a new way of thinking about (...) how dance functions as a healing art through its ability to ground and reconnect us with self, world, and others--with our humanity. It is argued that through a Merleau-Pontian framework, we can come to appreciate the true potential of dance as a positive and deeply humanising experience, demonstrating how expressive arts practice understood through the lens of philosophical theory can open up new dimensions of understanding and experience in relation to well-being and self- care. (shrink)

Turning to the moment when phenomenology (Maurice Merleau-Ponty) meets process philosophy (Alfred North Whitehead), this article turns around three questions: (a) How does movement produce a body? (b) What kind of subject is introduced in the thought of Merleau-Ponty and how does this subject engage with or interfere with the activity here considered as ‘body’? (c) What happens when phenomenology (Merleau-Ponty) meets process philosophy (Alfred North Whitehead)? and builds around three propositions (a) There is never a body as such: what (...) we know are edgings and contourings, forces and intensities: a body is its movement (b) Movement is not to be reduced to displacement (c) A philosophy of the body never begins with the body: it bodies. (shrink)

This review of Manning’s article wonders at the wonder that Manning describes. It does so first in broad terms that question the experience of wonder that Manning describes and goes on to wonder specifically about her understanding of the experienced realities of thinking in movement. In the course of doing so, the review questions her sweeping away ‘the subject’; questions her hard-and-fast distinctions between phenomenology and Whitehead’s metaphysics and voices wonder about her neglecting complementarities between phenomenology and Whitehead’s metaphysics; questions (...) the validity of her claims about ‘where phenomenology goes wrong’; wonders about the absence of kinesthesia and its qualitative dynamics in what she writes of human movement; and finally wonders about her non-substantiated claims about ontogeny. (shrink)

The Greek word mētis (μῆτις) traditionally refers to a particular form of wily intelligence associated with the arts of deception (dolos) and the knowledge of tricks (kerdē), subterfuges, and traps. Mētis evokes innovative and ground-breaking solutions, based on the capability to understand, anticipate, and possibly violate the others’ expectations. Most importantly, mētis presupposes practical wisdom, or prudence (phrόnesis), a dispositional quality that underpins all the virtues that deserve to be cultivated by sportspersons and that is pivotal to perfect sportspersons’ moral (...) character. Not only is prudence required to apply mētis profitably for winning a game, but it is also indispensable to perform consistently with the game’s norms—cognizant of sport values. This analysis of mētis is key to illuminate the embodied dimension of tactical and moral reasoning in contemporary sport practice. In this paper, we first argue that the strategic effectiveness of mētis proves that not only sensorimotor control but also higher forms of intelligence, like strategic reasoning, are embodied and inform skilful performance; second, we argue that relying on mētis is necessary not only to interpret the rules of the game in one’s own favor but also to respect the shared values that these rules uphold in the sport practice. (shrink)

The embodied creative practice of dance facilitates a particular kind of awareness or attunement which can inform both the therapeutic and the intellectual work of the Health Humanities. This paper therefore considers dance as a way of ‘doing’ Health Humanities in two interlinked ways: dance as a way of healing and dance as a way of knowing. In bringing together carnal and the creative dimensions of human experience, dance offers us a way of making sense of our place in the (...) world that provides us both with much needed existential security and much needed epistemological freedom. (shrink)

The intelligibility of a performance of improvised dance does not reside in the rehearsed execution of a pre-existing script, nor does it result from a sustained verbal interaction between the dancers. Many aspects of the speechless performance obviously play an important role in the achieved intelligibility of the dance: a dancer is seen moving on and from a ground, on a stage, in a space delimited by walls, illuminated by spotlights, sounded by music, in front of an audience. And of (...) course with other dancers, whose joint gestures and moves give shape to a choreography by providing pace, rhythm and sequences, thereby constituting a narrative or fragments thereof. This paper addresses the manufacture of this witnessable order, by presenting some results of an ethnographic inquiry. The investigation will be focused on how, in an improvised duet, each dancer interacts with the other, and more specifically how she or he positions her- or himself in relation to the other, from distance to proximity and touch. This work of distance management is the dance, whose choreographic accountability is produced and structured by dancers staying at a distance, getting closer and touching each other. The analysis shows that distance management is oriented to as relevant by the dancers and that it has consequences on their improvised duet. It is also what makes their performance analyzable by distant observers. (shrink)

In a newly designed collaborative online music course, four musical novices unknown to each other learned to play the clarinet starting from zero. Over the course of 12 lessons, a special emphasis was placed on creativity, mutual interaction, and bodily movement. Although addressing these dimensions might be particularly challenging in distance learning contexts, a thematic analysis of semi-structured interviews with the learners revealed how the teaching approach proposed has generally facilitated learning. Qualitative findings highlight the importance of establishing meaningful relationships (...) with the musical instrument as well as with other students to build musicality, and of the interplay between creativity and control in individual and collective music-making activities. We suggest that remote music tuition with a small group can be a valuable resource to start learning music and that a creative, collaborative, and movement-based approach can contribute to musical growth. (shrink)