The publication of this book is an event in the making. All over the world scientists, psychologists, and philosophers are waiting to read Antonio Damasio's new theory of the nature of consciousness and the construction of the self. A renowned and revered scientist and clinician, Damasio has spent decades following amnesiacs down hospital corridors, waiting for comatose patients to awaken, and devising ingenious research using PET scans to piece together the great puzzle of consciousness. In his bestselling Descartes' Error, Damasio (...) revealed the critical importance of emotion in the making of reason. Building on this foundation, he now shows how consciousness is created. Consciousness is the feeling of what happens-our mind noticing the body's reaction to the world and responding to that experience. Without our bodies there can be no consciousness, which is at heart a mechanism for survival that engages body, emotion, and mind in the glorious spiral of human life. A hymn to the possibilities of human existence, a magnificent work of ingenious science, a gorgeously written book, The Feeling of What Happens is already being hailed as a classic. (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)

Proprioception has been considered, within neuroscience, in the context of the control of movement. Here we discuss a possible second role for this 'sixth sense', pleasure in and of movement,homologous with the recently described affective touch. We speculate on its evolution and place in human society and suggest that pleasure in movement may depend not on feedback but also on harmony between intention and action. Examples come from expert movers, dancers and sportsmen, and from those without proprioception due to neurological (...) impairment. Finally we suggest that affective proprioception may help bind our sense of agency with our embodied selves at an emotional level. (shrink)

This paper thematizes the operative kinaesthetic style of world-experiencing life by turning to the ongoing how of our habitual bodily comportment: to our deeply sedimented way(s) of making a body; to schematic inner vectors or tendencies toward movement that persist as bodily ghost gestures even if one is not making the larger, visible gestures they imply; and to inadvertent isometrics, i.e., persisting patterns of trying, bracing, freezing, etc. All such micromovements witness to our sociality insofar as they are not only (...) socially shaped, but perpetuate certain styles of intercorporeal interaction and sustain certain modes of responsivity. Reactivating the sediment -- retrieving the tacit choreography of everyday life from its anonymity and sensing our ongoing ways of living out the legacy of our communal body -- not only allows one''s individual bodily style to shift, but can open new possibilities for healthy interkinaesthetic comportment. Such work can thus contribute to an embodied ethics in both theory and practice. (shrink)

One of science's greatest intellects examines how people and animals display fear, anger, and pleasure. Darwin based this 1872 study on his personal observations, which anticipated later findings in neuroscience. Abounding in anecdotes and literary quotations, the book is illustrated with 21 figures and seven photographic plates. Its direct approach, accessible to professionals and amateurs alike, continues to inspire and inform modern research in psychology.

Darwin discusses why different muscles are brought into action under different emotions and how particular animals have adapted for association with man.

‘There is no place in the phenomenology of fully absorbed coping’, writes Hubert Dreyfus, ‘for mindfulness. In flow, as Sartre sees, there are only attractive and repulsive forces drawing appropriate activity out of an active body’1. Among the many ways in which history animates dynamical systems at a range of distinctive timescales, the phenomena of embodied human habit, skilful movement, and absorbed coping are among the most pervasive and mundane, and the most philosophically puzzling. In this essay we examine both (...) habitual and skilled movement, sketching the outlines of a multidimensional framework within which the many differences across distinctive cases and domains might be fruitfully understood. Both the range of movement phenomena which can plausibly be seen as instances of habit or skill, and the space of possible theories of such phenomena are richer and more disparate than philosophy easily encompasses. We seek to bring phenomenology into contact with relevant movements in psychological theories of skilful action, in the belief that phenomenological philosophy and cognitive science can be allies rather than antagonists. (shrink)

This article presents an initial analysis of Ashtanga Vinyasa Yoga, a variety of ‘modern postural yoga’. The article theorizes the embodied experience of a¯sana (‘yoga postures’), drawing on ethnographic research with Western practitioners in India and Australia and on the author’s own practice. Building on phenomenological and cultural theories of embodiment, it is suggested that the experience of yoga practitioners has particular somatic foundations, and that this somatic basis helps explain the cross-cultural effectiveness of yoga.

This text addresses a problem that is not sufficiently dealt with in most of the recent literature on emotion and feeling. The problem is a general underestimation of the extent to which affective intentionality is essentially bodily. Affective intentionality is the sui generis type of world-directedness that most affective states – most clearly the emotions – display. Many theorists of emotion overlook the extent to which intentional feelings are essentially bodily feelings. The important but quite often overlooked fact is that (...) the bodily feelings in question are not the regularly treated, non-intentional bodily sensations (known from Jamesian accounts of emotion), but rather crucial carriers of world-directed intentionality. Consequently, most theories of human emotions and feelings recently advocated are deficient in terms of phenomenological adequacy. This text tries to make up for this deficit and develops a catalogue of five central features of intentional bodily feelings. In addition, Jesse Prinz’s embodied appraisal theory is criticized as an exemplary case of the misconstrual of the bodily nature of affective experience in naturalistic philosophy of mind. (shrink)

It is widely thought that focusing on highly skilled movements while performing them hinders their execution. Once you have developed the ability to tee off in golf, play an arpeggio on the piano, or perform a pirouette in ballet, attention to what your body is doing is thought to lead to inaccuracies, blunders, and sometimes even utter paralysis. Here I re-examine this view and argue that it lacks support when taken as a general thesis. Although bodily awareness may often interfere (...) with well-developed rote skills, like climbing stairs, I suggest that it is typically not detrimental to the skills of expert athletes, performing artists, and other individuals who endeavor to achieve excellence. Along the way, I present a critical analysis of some philosophical theories and behavioral studies on the relationship between attention and bodily movement, an explanation of why attention may be beneficial at the highest level of performance and an error theory that explains why many have thought the contrary. Though tentative, I present my view as a challenge to the widespread starting assumption in research on highly skilled movement that at the pinnacle of skill attention to one's movement is detrimental. (shrink)

This paper is about one of the puzzles of bodily self-consciousness: can an experience be both and at the same time an experience of one′s physicality and of one′s subjectivity ? We will answer this question positively by determining a form of experience where the body′s physicality is experienced in a non-reifying manner. We will consider a form of experience of oneself as bodily which is different from both “prenoetic embodiment” and “pre-reflective bodily consciousness” and rather corresponds to a form (...) of reflective access to subjectivity at the bodily level. In particular, we argue that subjectivity is bodily expressed, thereby allowing the experience of the body′s subjectivity directly during perceptual experiences of the body. We use an interweaving of phenomenological explorations and ethnographical methods which allows validating this proposal by considering the experience of body experts (dancers). (shrink)

The paper argues that authentic human selfhood requires the adequate integration of bodily awareness into the self-conception of self, and that a highly significant contributor to this process is athletic activity (sports). The role of athletics in self-integration is examined from phenomenological and moral-political standpoints, and it is argued that, although athletic activity's inherent goal of realizing ontological unity through embodied intentionality is ideally suited to this task, the organization of sport too frequently thwarts this purpose, either through exclusion of (...) potential athletes or exploitation of committed participants. (shrink)

Most cognitive scientists are committed to some version of representationalism, the view that intelligent behavior is caused by internal processes that involve computations over representations. Phenomenologists, however, argue that certain types of intelligent behavior, engaged coping skills, are nonrepresentational. Recent neuroscientific work on multiple memory systems indicates that while many types of intelligent behavior are representational, the types of intelligent behavior cited by phenomenologists are indeed nonrepresentational. This neuroscientific research thus vindicates a key phenomenological claim about the nature of intelligent (...) behaviour. It also provides a framework for the ongoing reconciliation of cognitive science and phenomenology. (shrink)

McDowell's claim that "in mature human beings, embodied coping is permeated with mindedness",1 suggests a new version of the mentalist myth which, like the others, is untrue to the phenomenon. The phenomena show that embodied skills, when we are fully absorbed in enacting them, have a kind of non-mental content that is non-conceptual, non-propositional, non-rational and non-linguistic. This is not to deny that we can monitor our activity while performing it. For solving problems, learning a new skill, receiving coaching, and (...) so forth, such monitoring is invaluable. But monitoring what we are doing as we are doing it degrades performance to at best competence. On McDowell's view, there is no way to account for such a degradation in performance since the same sort of content would be involved whether we were fully absorbed in or paying attention to what we were doing. McDowell claims that it is an advantage of his conceptualism that it avoids any foundationalist attempt to build up the objective world on the basis of an indubitable Given or any other ground-floor experience. And, indeed, if the world is all that is the case and our minds are unproblematically open to it, all experience is on the same footing. But one must distinguish motor intentionality, and the interrelated solicitations our coping body is intertwined with, from conceptual intentionality and the world of propositional structures it opens onto. The existential phenomenologist can then agree with McDowell in rejecting traditional foundationalisms, while yet affirming and describing the ground-floor role of motor intentionality in providing the support on which all forms of conceptual intentionality are based. (shrink)

Ways of the Hand tells the story of how David Sudnow learned to improvise jazz on the piano. Because he had been trained as an ethnographer and social psychologist, Sudnow was attentive to what he experienced in ways that other novice pianists are not. The result, first published in 1978 and now considered by many to be a classic, was arguably the finest and most detailed account of skill development ever published.Looking back after more than twenty years, Sudnow was struck (...) by the extent to which he had allowed his academic background to shape the book's language. He realized that he could now do a much better job of describing his experiences in a way that would not require facility with formal social science and philosophical discourse. The result is a revised version of the book that carries the same intellectual energy as the original but is accessible to a much wider audience. (shrink)

To explore the question of physical thinking – using the body as an instrument of cognition – we collected extensive video and interview data on the creative process of a noted choreographer and his company as they made a new dance. A striking case of physical thinking is found in the phenomenon of marking. Marking refers to dancing a phrase in a less than complete manner. Dancers mark to save energy. But they also mark to explore the tempo of a (...) phrase, or its movement sequence, or the intention behind it. Because of its representational nature, marking can serve as a vehicle for thought. Importantly, this vehicle is less complex than the version of the same phrase danced ‘full-out’. After providing evidence for distinguishing different types of marking, three ways of understanding marking as a form of thought are considered: marking as a gestural language for encoding aspects of a target movement, marking as a method of priming neural systems involved in the target movement, and marking as a method for improving the precision of mentally projecting aspects of the target. (shrink)

To explore the question of physical thinking – using the body as an instrument of cognition – we collected extensive video and interview data on the creative process of a noted choreographer and his company as they made a new dance. A striking case of physical thinking is found in the phenomenon of marking. Marking refers to dancing a phrase in a less than complete manner. Dancers mark to save energy. But they also mark to explore the tempo of a (...) phrase, or its movement sequence, or the intention behind it. Because of its representational nature, marking can serve as a vehicle for thought. Importantly, this vehicle is less complex than the version of the same phrase danced ‘full-out’. After providing evidence for distinguishing different types of marking, three ways of understanding marking as a form of thought are considered: marking as a gestural language for encoding aspects of a target movement, marking as a method of priming neural systems involved in the target movement, and marking as a method for improving the precision of mentally projecting aspects of the target. (shrink)

in Jeremy McKenna (ed), At the Boundaries of Cricket, to be published in 2007 as a special issue of the journal Sport in Society and as a book in the series Sport in the Global Society (Taylor and Francis).