To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such (...) as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

We experience our encounters with the world and others in different degrees of intensity – the presence of things and others is gradual. I introduce this kind of presence as a ubiquitous feature of every phenomenally conscious experience, as well as a key ingredient of our ‘feeling of being alive’, and distinguish explanatory agendas that might be relevant with regard to this phenomenon (1 – 3). My focus will be the role of the body-brain nexus in realizing these experiences and (...) its treatment in recent accounts of the bodily constitution of experience. Specifically, I compare a sensorimotor approach to perceptual presence that focuses on properties of the moving body (O’Regan 2011; Noë 2012) with a more general enactivism that focuses on properties of the living body (Thompson 2007). First, I develop and discuss a theory of access derived from sensorimotor theory that might be suited to explain the phenomenon of gradual presence. This is a theory that sees the mastery of sensorimotor, bodily engagements with the world as key elements in setting up a phenomenal experience space. I object that in current versions of sensorimotor theory the correlation posited between presence and changes in the subject’s physical relation to the environment is too rigid. Nevertheless I defend the claim that gradual presence is constituted by our temporally extended engagement with the environment (4 – 7). Second, I consider some objections stemming from enactivism with regard to self-regulatory properties of the living body and the phenomenological claim that the organism’s value-laden relations with its environment have to be included in the theory. I will show that the latter is a necessary amendment to sensorimotor theory and its concept of gradual presence (8-10). (shrink)

The condition of ‘genuine perceptual synaesthesia’ has been a focus of attention in research in psychology and neuroscience over the last decades. For subjects in this condition stimulation in one modality automatically and consistently over the subject’s lifespan triggers a percept in another modality. In hearing→colour synaesthesia, for example, a specific sound experience evokes a perception of a specific colour. In this paper, I discuss questions and challenges that the phenomenon of synaesthetic experience raises for theories of perceptual experience in (...) general, and for theories thatsee the content and modality of conscious experience as being constituted and determined by the active and skilful exploration of the environment in particular. The focus of my paper will be on the latter, ‘enactive’ view of perception and its theory of what determines the modality-specific ‘feel’ of a perceptual experience. (shrink)

A myriad of sensations inform and direct us when we engage with the environment. To understand their influence on the development of our habitus it is important to focus on unifying processes in sensing. This approach allows us to include phenomena that elude a rather narrow view that focuses on each of the five discrete senses in isolation. One of the central questions addressed in this volume is whether there is something like a sensual habitus, and if there is, how (...) it can be defined. This is especially done by exploring the formation and habituation of the senses in and by a culturally shaped habitat. Two key concepts, Synaesthesia and Kinaesthetics, are addressed as essential components for an understanding of the interface of habitat and the rich and multisensory experience of a perceiving subject. At a Berlin-based conference Synaesthesia and Kinaesthetics, scholars from various disciplines gathered to discuss these issues. In bringing together the outcome of these discussions, this book gives new insights into the key phenomena of sensory integration and synaesthetic experiences, it enriches the perspectives on sensually embedded interaction and its habituation, and it expands this interdisciplinary inquiry to questions about the cultures of sensory habitus. (shrink)