Many of us took pride in never feeling violent, never hitting. We had not thought deeply about our relationships to inflicting physical pain. Some of us expressed terror and awe when confronted with physical strength on the part of others. For us, the healing process included the need to learn how to use physical force constructively, to remove the terror—the dread. —bell hooks, Talking Back: Thinking Feminist, Thinking Black.

This paper aims to discuss Spinoza’s theory of consciousness by arguing that consciousness is the expression of bodily complexity in terms of adequate knowledge. Firstly, I present the link that Spinoza built up in the second part of the Ethics between the ability of the mind to know itself and the idea ideae theory. Secondly, I present in what sense consciousness turns out to be the result of an adequate knowledge emerging from the epistemological resources of a body (...) as complex as the human one. Thirdly, I address a possible objection that might arise in considering our daily-life experience of consciousness. I conclude that understanding consciousness in terms of adequate knowledge is coherent with both our phenomenological experience and Spinoza’s texts. Such an interpretation permits to underline the overthrow of Descartes’ account of consciousness by Spinoza. (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a (...) property when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

Expression is the central concept in Wittgenstein’s philosophy of mind, and our experiences are reflected in our bodily expressions or gestures, facial expressions, behaviors and linguistic expressions. It seems true that we have no access of other people’s experiences but we can know or talk about them in so far as they are the common experiences of all. This inaccessibility of other’s experiences may create a genuine thinking that one’s experiences are private and the first person present tense (...) psychological utterances are not descriptive at all. They are understood solely as expressive and expression is the outer concept of a mental phenomenon. In this paper, an attempt will be made on the basis of Wittgenstein’s critique of the relationship between the concepts of experience and expression we shall argue that certain uses of the dichotomy between the inner and the outer are mistakes. According to Wittgenstein, the inner is not a set of experiences which are or are not expressed by our immediate (primitive) expressions or linguistic expressions rather it is the capacity of the subject to express himself genuinely. (shrink)

Husserl’s philosophy of culture relies upon a person’s body being expressive of the person’s spirit, but Husserl’s analysis of expression in Logical Investigations is inadequate to explain this bodily expressiveness. This paper explains how Husserl’s use of “expression” shifts from LI to Ideas II and argues that this shift is explained by Husserl’s increased understanding of the pervasiveness of sense in subjective life and his increased appreciation for the unity of the person. I show how these two (...) developments allow Husserl to better describe the bodily expressiveness that is the source of culture. Husserl’s account of culture is thoroughly intentionalistic, but it does not emphasize thought at the expense of embodiment. Culture originates not in an abstract subjectivity, but by persons’ expressing themselves physically in the world. By seeing how Husserl develops his mature position on bodily expressiveness, we can better appreciate the meaningfulness and the bodily concreteness of cultural objects. (shrink)

In this paper I argue that the detection of emotional expressions is, in its early stages, informationally encapsulated. I clarify and defend such a view via the appeal to data from social perception on the visual processing of faces, bodies, facial and bodily expressions. Encapsulated social perception might exist alongside processes that are cognitively penetrated, and that have to do with recognition and categorization, and play a central evolutionary function in preparing early and rapid responses to the emotional stimuli.

This paper presents an analytical framework for analyzing how multimodal resources of emotion expression are semiotically materialized in discursive interactions specific to political discourse. Interested in how political personae are emotionally constructed through multimodal meaning-making practices, our analysis model assumes an interdisciplinary perspective, which integrates facial expression analysis – using FaceReader™ software –, the theory of emotional arcs and bodily actions (hand gestures) analysis that express emotions, in the analytical framework of multimodality. The results show how the (...) multimodal choices that political actors make during discursive interactions allow them to build their political brand and make connections with the audience on an emotional level. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the (...) cognitive and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

Melancholy is a central expressive property of the Before films and key to understanding and appreciating the trilogy as a whole. That, in a nutshell, is the thesis I develop in this paper. In the first section, I present a philosophical account of melancholy in general and aesthetic melancholy in particular. Melancholy is understood here as the profound and bittersweet emotional experience that occurs when we vividly grasp a harsh truth about human existence in such a way that we come (...) to appreciate certain aspects of life more deeply. The second section of the paper focuses on the many intense as well as more subtle moments of melancholy in the various encounters between Celine and Jesse. These moments, I argue, are partly prompted by the environment and the circumstances in which they find themselves. But both of them also actively seek out and create such moments by the stories they tell and the reflections they engage in. That seems part of who they are as individuals and, I contend, it may be part of what attracts them to each other. In the third section, I address ‘film expression’, as opposed to ‘character expression’, and argue that melancholy is not just present in the characters’ dialogue and in their facial and bodily expressions but is also expressed through various cinematic means. The final section centres on the audience and the reception of the Before trilogy. I introduce the distinction between expression and expressiveness and suggest that the films may have resonated deeply with some viewers because they are so expressive of melancholy. (shrink)

Merleau-Ponty’s attitude to psychoanalysis was ambiguous. On the one hand, he realized that the phenomena psychoanalysis deals with require to go beyond the area of ​​act intentionality, and that, from a different angle, psychoanalysis addresses the same problem as Gestalt psychology, which played the central role in Merleau-Ponty’s philosophical project. On the other hand, he explicitly rejected the terms used by Freud for conveying his discoveries. Merleau-Ponty replaced unconscious mental contents, which act on conscious behavior, by ambiguous consciousness. In the (...) Structure of Behavior and Phenomenology of Perception, he used the terms “habit,” “bad faith,” “bodily expression,” “affective intentionality,” and “body schema” to specify his notion of experiential “ambiguity.” This paper aims to present the key concepts of Merleau-Ponty’s early interpretation of the psychoanalytic concept of the unconscious. A partial task is to show how Merleau-Ponty’s concept of bad faith differs from that of Sartre, and to distinguish existential ambiguity from the psychoanalytic concept of overdetermination. (shrink)

The paper is about H. Odera Oruka's Sage Philosophy project. Oruka interviewed rural sages of Kenya, saying that like Socrates, these wise elders had been philosophizing without writing anything down. Paulin Hountondji (at the time) criticized efforts of oral philosophizing, saying that Africa needed a written tradition of philosophizing. Some philosophers were representatives of an "individualist" position which says that philosophical ideas must be attributed to specific named individuals. Kwame Gyekye instead argued that anonymous community wisdom of Africans had indeed (...) been created by individuals, but individual names were not important to Africans at the time they created the wisdom. The paper then argues that hearing a certain bit of wise philosophy coming from a particular person in an interpersonal oral communication at a certain time and in a certain context can impress an idea upon this listener, commanding their attention in a way that a written text does not, due to the importance of presence in interpersonal communication. Respect for the speaker, and the way in which the speaker uses voice inflection and facial and bodily expressions while communicating all play a role in the message's reception. The paper does not argue that written philosophy or oral philosophy are superior to each other in all ways; rather, each has a strength that the other does not have. (shrink)

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to the body (...) while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living body, that Gallagher often (...) draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (shrink)

The paper aims at clarifying the distinctions and relations between pain and suffering. Three negative theses are defended: 1. Pain and suffering are not identical. 2. Pain is not a species of suffering, nor is suffering a species of pain, nor are pain and suffering of a common (proximate) genus. 3. Suffering cannot be defined as the perception of a pain’s badness, nor can pain be defined as a suffered bodily sensation. Three positive theses are endorsed: 4. Pain and (...) suffering are categorically distinct: pain is a localised bodily episode, suffering is a non-localised affective attitude. 5. Suffering can be expressed, pains cannot. As a consequence, we can have compassion for the suffering of others, not for their pains. 6. The relation between pain and suffering is akin to the relation between danger and fear, injustice and indignation, wrongdoing and guilt: suffering is the correct reaction to pain. One upshot is that both the influential view that the experience of pain is incorrigible and the influential view that the ordinary conception of pain is paradoxical are false. (shrink)

The paper discusses the category of one of the most fundamental expressions of agency, those movements of agents that are actions. There have been three dominant views of action since the 1960s: 1. the Causal Theory of Action, 2. the Tryings/Willings view, and 3. Agent Causation. These views claim that actions are: 1. events of bodily movements which have the right causes; 2. specific types of mental events causing events of bodily movements; 3. instances of the causal relationship (...) between agents and events of bodily movements. Among other arguments, a specific interpretation of the difference between transitive and intransitive verbs has been taken by defenders of the Tryings/Willings views and Agent Causation to support their main claims. The paper argues that these three views mischaracterise actions of bodily movements. It argues for this by highlighting some implausible claims and problems of the three views; by offering an interpretation of the difference between transitive and intransitive verbs that does not lend support to these views; and finally, by providing an alternative view of actions. This view is the Pluralist View according to which agents’ movements are the activations of agents’ abilities to move. (shrink)

I argue that pain sensations are perceptual states, namely states that represent (actual or potential) damage. I defend this position against the objection that pains, unlike standard perceptual states, do not allow for an appearance-reality distinction by arguing that in the case of pain as well as in standard perceptual experiences, cognitive penetration or malfunctions of the underlying sensory systems can lead to a dissociation between the sensation on the one hand, and what is represented on the other hand. Moreover, (...) I refute the objection that the allegedly weak correlation between pain and bodily damage forces intentionalist accounts of pain to postulate so many malfunctions (misrepresentations respectively) that such accounts become implausible. I also rebut Murat Aydede’s objection that our linguistic practice supposedly shows that there is a conceptual difference between standard perceptual experiences and pain sensations by challenging Aydede’s premise that we always withdraw standard perceptual reports in case of counterevidence, while we never do that with pain reports. At the end, I propose an explanation as to why we do not express perceptual reports of (potential) bodily damage in objectivist, but in mental terms. (shrink)

This paper explores some ways how perceptual-cognitive accounts of anorexia can benefit from philosophy. The first section focuses on the three dimensions of anorexia most open to a contribution from philosophy: the dimensions of language, perception and cognition. In the second section, I offer a brief overview of what philosophy has to say regarding these dimensions, especially as they relate to two crucial issues: introspection and meaning. I draw from current philosophy of language, especially from the arguments against using internal (...) perception as a model for the way we express our own bodily states. I draw also from current philosophy of interpretation, especially from debates concerning the criteria for handling dialogical misunderstanding. I use these insights to expose some dangers in assuming and working with oversimplified accounts of introspection and meaning. I then suggest refined and updated accounts and examine their applicability and usefulness in the diagnosis and treatment of anorexia. (shrink)

For many years emotion theory has been characterized by a dichotomy between the head and the body. In the golden years of cognitivism, during the nineteen-sixties and seventies, emotion theory focused on the cognitive antecedents of emotion, the so-called “appraisal processes.” Bodily events were seen largely as byproducts of cognition, and as too unspecific to contribute to the variety of emotion experience. Cognition was conceptualized as an abstract, intellectual, “heady” process separate from bodily events. Although current emotion theory (...) has moved beyond this disembodied stance by conceiving of emotions as involving both cognitive processes (perception, attention, and evaluation) and bodily events (arousal, behavior, and facial expressions), the legacy of cognitivism persists in the tendency to treat cognitive and bodily events as separate constituents of emotion. Thus the cognitive aspects of emotion are supposedly distinct and separate from the bodily ones. This separation indicates that cognitivism’s disembodied conception of cognition continues to shape the way emotion theorists conceptualize emotion. (shrink)

Abstract: This entry elucidates causal and constitutive roles that various forms of imagining play in human action. Imagination influences more kinds of action than just pretend play. I distinguish different senses of the terms “imagining” and “imagination”: imagistic imagining, propositional imagining, and constructive imagining. Each variety of imagining makes its own characteristic contributions to action. Imagistic imagining can structure bodily movement. Propositional imagining interacts with desires to motivate pretend play and mimetic expressive action. And constructive imagination generates representations of (...) possibilities and actions on the basis of which we choose what to do. [Version archived here is a penultimate draft.]. (shrink)

Discussions of sexual ethics often focus on the wrong of treating another as a mere object instead of as a person worthy of respect. On this view, the task of sexual ethics becomes putting the other’s subjectivity above their status as erotic object so as to avoid the harms of objectification. Ward and Anderson argue that such a view disregards the crucial, moral role that erotic objecthood plays in sexual encounters. Important moral features of intimacy are disclosed through the experience (...) of being an erotic object for another, as well as in perceiving another as an erotic object. Drawing on phenomenology, especially the insights of Simone de Beauvoir, Ward and Anderson argue that erotic encounters are shaped by the human condition of ambiguity, where being an object for others is intertwined with bodily agency. Because sexual agency is complex in this way, theories of sexual ethics and responsibility must widen their focus beyond transparent communication and authoritative expressions of will. (shrink)

The chapter challenges hyperbolic claims about the centrality of appreciation of beauty to Buddhism. Within the texts, attitudes are more mixed, except for a form of 'inner beauty' - the beauty found in the expression of virtues or wisdom in forms of bodily comportment. Inner beauty is a stable presence throughout Buddhist history, practices, and art.

Yoga is a unique form of expert movement that promotes an increasingly subtle interpenetration of thought and movement. The mindful nature of its practice, even at expert levels, challenges the idea that thought and mind are inevitably disruptive to absorbed coping. Building on parallel phenomenological and ethnographic studies of skilful performance and embodied apprenticeship, we argue for the importance in yoga of mental access to embodied movement during skill execution by way of a case study of instruction and practice in (...) two related traditions, Iyengar and Anusara. Sharing a pose repertoire, they are based on distinctive philosophical systems with different teaching styles and metaphoric structures. To address relations between pedagogy and practice in embodied expertise, and to investigate the reciprocal influences of embodiment and thought, we explore in detail the linguistically mediated learning context where practitioners work with yoga teachers. Here, the mind/body problem comes to practical life. We demonstrate the effects of words on bodies, as knowledge is literally incorporated. We show why interpersonal influence on our movement capacities is sometimes needed to enhance expertise. We theorize and identify ?signature patterns of tension? among practitioners. These patterns have four sources: ghost gestures, innate differences in bodily form, functional fusing, and signature patterns of affective experience, modulation and expression. These patterns of tension produce ?silent zones?, cognitively impenetrable actions, functional fusing of a skilful, compensatory form, and signature patterns of pain and damage. We show how instruction can disrupt these silent zones, enhancing mental and physical flexibility. (shrink)

Interactive social cognition theory and approaches of developmental psychology widely agree that central aspects of emotional and social experience arise in the unfolding of processes of embodied social interaction. Bi-directional dynamical couplings of bodily displays such as facial expressions, gestures, and vocalizations have repeatedly been described in terms of coordination, synchrony, mimesis, or attunement. In this paper, I propose conceptualizing such dynamics rather as processes of affective resonance. Starting from the immediate phenomenal experience of being immersed in interaction, I (...) develop the philosophical notion of affective resonance to refer to a dynamic entanglement of moving and being-moved in relation. The concept of affective resonance makes visible that the interaction dynamic itself creates an affective experience rather than transmitting internal feeling states between pre-existent individuals. This leads to a philosophical framework in which relationality and ontogeny are primary over separate individuals, and in which the naturalistic distinction of a fundamental physical level versus an emerging level of social processes has to be given up. (shrink)

The temporal structure for motivating, monitoring, and making sense of agency depends on encoding, maintaining, and accessing the right contents at the right times. These functions are facilitated by memory. Moreover, in informing action, memory is itself often active. That remembering is essential to and an expression of agency and is often active suggests that it is a type of action. Despite this, Galen Strawson (Proceedings of the Aristotelian Society, 103, 227–257, 2003) and Alfred Mele (2009) deny that remembering (...) is an action. They claim that memory fails to admit of control. Remembering is automatic—once remembering starts, the process can neither be stopped nor intervened on. Moreover, the agent does not initiate remembering. An agent has control over an event or process if and only if she has the capacity and opportunity to initiate and intervene on that event or process. Actions are events over which an agent has control. Since it is automatic, we fail to have control over remembering. Thus, remembering is not an action. In this paper, I draw out an assumption of Strawson’s and Mele’s accounts: an event-type whose tokens exhibit automaticity cannot, for that reason, be an action (§2). Against this assumption, I draw parallels between skilled bodily action and memory. I show that memory exhibits two defining features of skill: it can be learned with practice and it admits of attributions of excellence (§3). These features reveal how intelligent control is exerted in the exercise of skill despite apparent automaticity—control is gained over time (§4). Since exercises of skill are by definition actions and since memory exemplifies the defining features of skill, memory is a skill and instances of remembering are actions too. (shrink)

This chapter aims to reconstruct the phenomenological theories on hatred developed by Scheler, Pfänder and Kolnai and to refl ect upon its anthropological implications. Four essential aspects of this phenomenon are analyzed, taking as point of departure the works of these authors: (1) its place in the taxonomy of the affective life; (2) the world of its objects; (3) its expression in the form of bodily manifestations and motivating force; and (4) the inherent possibilities for overcoming it. The (...) chapter concludes that hatred is a key phenomenon for understanding aspects of human nature that we generally try to ignore or overlook. (shrink)

I draw upon the conceptual resources of the extended mind thesis to analyze empathy and interpersonal understanding. Against the dominant mentalistic paradigm, I argue that empathy is fundamentally an extended bodily activity and that much of our social understanding happens outside of the head. First, I look at how the two dominant models of interpersonal understanding, theory theory and simulation theory, portray the cognitive link between folk psychology and empathy. Next, I challenge their internalist orthodoxy and offer an alternative (...) "extended" characterization of empathy. In support of this characterization, I analyze some narratives of individuals with Moebius syndrome, a kind of expressive deficit resulting from bilateral facial paralysis. I conclude by discussing how a Zen Buddhist ethics of responsiveness is helpful for articulating the practical significance of an extended, body-based account of empathy. (shrink)

The aim of this paper is to show that an aesthetics of exemplarity could be a useful component of projects of moral self-cultivation. Using some in Linda Zagzebski's exemplarism, I describe a distinctive, aesthetically-inflected mode of admiration called moral attraction whose object is the inner beauty of a persn - the expression of the 'inner' virtues or excellences of character of a person in 'outer' forms of bodily comportment that are experienced, by others, as beautiful. I then argue (...) that certain moral traditions deploy inner beauty within their practices of moral self-cultivation - a good example being Confucianism. Advocates of exemplarist moral education should therefore take seriously the ways that an aesthetics of exemplarity can play roles within projects of moral self-cultivation. (shrink)

In book 9 of Plato's Republic, Socrates describes the nature and origins of the ‘tyrannical man’, whose soul is said to be ‘like’ a tyrannical city. In this paper, I examine the nature of the ‘government’ that exists within the tyrannical man's soul. I begin by demonstrating the inadequacy of three potentially attractive views sometimes found in the literature on Plato: the view that the tyrannical man's soul is ruled by his ‘lawless’ unnecessary appetites, the view that it is ruled (...) by sexual desire, and the view that it is ruled by a lust for power. I then present my own account. On the view I defend, the tyrannical man's soul is to be understood as ruled by a single, persistent, powerful desire for bodily pleasure: as much as he can get, and however he can get it. Finally, I show how understanding the tyrannical man's soul in the way I recommend helps resolve some commonly expressed concerns about this part of the Republic. I suggest, on this basis, that Plato's procedure in constructing his catalogue o.. (shrink)

In our everyday interactions we easily and effortlessly perceive emotions in others’ facial expressions and bodily behavior. How do we do that? Philosophers and psychologists have long argued about the fundamentals of emotion perception and the debate is far from settled. While some insist on the sufficiency of the morphological information contained in facial expressions, others construe the objects of emotion perception as more complex, comprising multimodal information such as touch, tone of voice, body postures, and so on. Others, (...) in turn, have gone so far as to deny that there is a pre-given object in emotion perception in the first place, so that processes of emotion perception must be conceptualized as emergent and co-constructed phenomena in contexts of social interaction. The purpose of this paper is to argue that John Dewey’s pragmatist theory of emotions can help us make significant theoretical advancements in the understanding of emotion perception, according to which emotions are coordinated modes of behavior that we enact with others in the contexts of social interactions. In this picture, perceiving emotions is a matter of participating in a joint activity of socio- affective coordination. This theory allows us to apprehend important insights about emotion perception that appear in these contemporary debates, while at the same time avoiding their pitfalls. (shrink)

Most research on image schema examined the meaning configuration of words connotation. However, previous studies of adjectives are meaningful in cognitive linguistics because they provide insight into how those adjectives are involved with psychological movement. In this sense, from the perspective of cognitive linguistics, one’s conceptualization and cognition are closely associated with their bodily experience and surroundings; adjectives are no exception. The varieties of transformations of image schemas lay the foundation for the conception and perception. Accordingly, this study is (...) an investigation into the perception of adjectives and psychological activities associated with image schema. Data in this study come from adjectives in the novel The Great Gatsby, which were tagged and calculated with the help of software Python and the NLTK package. The results demonstrate that a significant amount of adjectives were used in the novel. Moreover, Nick’s psychological activities changed significantly from the SOURCE to the DESTINATION schematic stage, which is uncovered by his expression of adjectives. Finally, the results further suggest that transformations of image schema as BALANCE, CONTAINER, and PATH work together to motivate one’s linguistic expression of adjectives. The present findings have several implications for research on lexicons and literacy interpretation from cognitive linguistics. (shrink)

Irigaray's early work seeks to multiply possibilities for women's self-expression by recovering a sexual difference in which male and female are neither the same nor opposites, but irreducibly different modes of embodiment. In her more recent work, however, Irigaray has emphasized the duality of the sexes at the expense of multiplicity, enshrining the heterosexual couple as the model of sexual ethics. Alison Stone's recent revision of Irigaray supplements her account of sexual duality with a theory of bodily multiplicity (...) derived from Butler, Nietzsche, and certain German Romantics; but to the extent that Stone maintains the primacy of sexual duality, her revision fails to address the claims of multiplicity on their own terms. In this paper, I interpret a passage from Marcel Proust's novel, Sodom and Gomorrah, in order to develop an alternative theory of sexual difference in which sexual duality is affirmed in relation to a third, unsexed but sexual force which multiplies the possibilities for sexual pleasure beyond heterosexual coupling. Proust's emphasis on sexed ``parts'' rather than sexed morphologies is generative of maximally diverse combinations, all of which are equally natural and equally enhanced through artifice. (shrink)

I argue that when we use email, text messaging, or social media websites such as Facebook to interact, rather than communicating face-to-face, we do not experience the best kind of empathy, which is most conducive to experiencing benevolence for others. My arguments rely on drawing interdisciplinary connections between sources: early modern accounts of sympathy, dance theory, philosophy of technology, and neuroscience/psychology. I reflect on theories from these disciplines which, taken together, suggest that to empathize optimally, we must see or hear (...) each other’s bodily gestures, vocal intonations, and facial expressions. (shrink)

Intuitively, we can conceive of the existence of a conscious state as a pure activity that does not necessarily require a body (or even a brain). This idea has found new support in certain recent theories that present the possibility of a totally disconnected and disembodied consciousness. Against this hypothesis, I argue that human experience is intrinsically embodied and embedded, though in a specific way. Using Sartre’s phenomenology of the body, I first analyze the concept of consciousness as intentionality and (...) a world-disclosing activity, thus explaining how conscious activity can only be expressed through a body that is spatiotemporally related to the world. Then, I argue that bodily consciousness does not necessarily imply the actual presence of an anatomical body but, rather, a process of spatialization and temporalization (hodological space and temporal synthesis) through the “spatiotemporal body”. Finally, I test my thesis by critiquing some cases of apparent disembodied/disconnected consciousness, i.e., dreams, out-of-body experiences, and the brain-in-a-vat scenario. (shrink)

This paper tries to show that the naturalistic view of addiction is mired in contradictions that stem from reducing the addict to a weak-willed subject who loses control over his or her body. From a phenomenological perspective, addiction reveals itself to be a habit which eventually becomes harmful, but has its primary sources in the embodied needs of a worldly subject. The aim of this paper is to uncover the dimensions of the lived addiction that are neglected in the contemporary (...) naturalistic discourse: the lived-body and the worldly context of the addict. Firstly, we try to do justice to the variety of addictions by underlying that their new and surprising forms are determined by the intersubjective tissue wherein the subject operates. Secondly, the loss of control in addiction, how the subject deals with the tendency to satisfy a need, is experienced as powerlessness, as expressed in the accounts of ecstasy addicts regarding altered states of mind. The last section of this paper will argue that this sense of powerlessness cannot be equated with a weakness of the will because a strong, forceful will engenders the same vertigo of being prey to strange powers. The embodied aspect of addiction and the spontaneous, bodily need it saturates will clarify further this claim. (shrink)

In 2016, Colin Kaepernick, a quarterback for the San Francisco 49ers, remained seated during the national anthem in order to protest racial injustice and police brutality against African-Americans. After consulting with National Football League and military veteran Nate Boyer, Kaepernick switched to taking a knee during the anthem for the remainder of the season. Several NFL players and other professional athletes subsequently adopted this gesture. This article brings together complementary Confucian and phenomenological analyses to elucidate the significance of Kaepernick’s gesture, (...) and in the process provide a phenomenological characterization of the connection between the Confucian notions of sagehood and ritual. Kaepernick’s gesture subverts the anthem ritual from within while simultaneously remaining faithful to the ideals it is meant to express. Furthermore, it institutes a new bodily form of patriotic self-expression compatible with both American and Confucian ideals. (shrink)

In De Anima I 4, Aristotle describes the intellect (nous) as a sort of substance, separate and incorruptible. Myles Burnyeat and Lloyd Gerson take this as proof that, for Aristotle, the intellect is a separate eternal entity, not a power belonging to individual humans. Against this reading, I show that this passage does not express Aristotle’s own views, but dialectically examines a reputable position (endoxon) about the intellect that seems to show that it can be subject to change. The passage’s (...) argument for the indestructibility of intellect via an analogy to perception does not fit with Aristotle’s own views. Aristotle thinks that perception operates via bodily organs, but denies this of understanding. He also requires separability from the body for indestructibility, something this analogy rules out. However, Aristotle’s Platonist interlocutors may well endorse such an argument. My dialectical interpretation best resolves the interpretative difficulties and explains its place in the larger context, Aristotle’s discussion of Platonist views on the soul. Aristotle presents a challenge to his insistence that the soul is subject to change, dialectically resolves that challenge, and then ends by reserving the right to give a different account of the intellect. (shrink)

The term “consciousness” is very often, though not always, interchangeable with the term “awareness,” which is more colloquial to many ears. We say things like “are you aware that ...” often. Sometimes we say “have you noticed that ... ?” to express similar thoughts, and this indicates a close connection between consciousness (awareness) and attention (noticing), which we will come back to later in this chapter. Ned Block, one of the key figures in this area, provides a useful characterization of (...) what he calls “phenomenal consciousness.” For him, phenomenal consciousness is experience. Experience covers perceptions, e.g., when we see, hear, touch, smell, and taste, we typically have experiences, such as seeing colors and smelling odors. It also covers bodily awareness, e.g., we typically have experiences of our own bodily temperature and positions of limbs. Consciousness is primarily about this experiential aspect of our mental lives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.1 (2004) 113-115 [Access article in PDF] Wilhelm Dilthey. The Formation of the Historical World in the Human Sciences. Edited with an Introduction by Rudolf A. Makkreel and Frithjof Rodi. Princeton: Princeton University Press, 2002. Pp xiii + 399. Cloth $55.00. The first complete English translation of Wilhelm Dilthey's (1833-1911) most important mature work—a seminal work for hermeneutics, phenomenology, critical theory, and the (...) philosophy of history and the human sciences—is to be greatly welcomed. This excellent translation conveys the subtlety and richness of Dilthey's German. Its innovative translations of key terms will provide renewed stimulus to interpreting Dilthey's works.This edition includes Dilthey's investigation of the structures of consciousness in his three preliminary "Studies toward the Foundation of the Human Sciences," his exploration [End Page 113] of the import of the productive systems of historical life for knowledge in The Formation of the Historical World in the Human Sciences, and his final and perhaps best formulation of hermeneutics in "The Understanding of Other Persons and Their Manifestations of Life."Although Carnap and others utilized the word Aufbau in the sense of epistemic "construction," Makkreel and Rodi clarify how Dilthey used it in the sense of "formation." The formation of the historical world refers to its articulation in the human sciences which themselves theoretically reflect this historical world (GSW3: 1). They also argue that Dilthey's theory of the human sciences is not merely an epistemology (Erkenntnistheorie), but a theory of knowledge (Theorie des Wissens) that relates knowing to its context. Whereas epistemology seeks to establish the foundations of conceptual cognition (Erkenntnis), Dilthey places the epistemology of the human sciences within a larger context of the knowledge (Wissen) embodied in social practices and historical forms of life. Knowledge encompasses not only the conceptual cognition of reality, but also the values and purposes established about it.Dilthey accordingly situated the human sciences, which are determined by their respective object and how the object is given (SW3: 38), in relation to a pretheoretical life-nexus and its forms of elementary or ordinary understanding. These are tied up with the temporality, historicity, and structures of social life; with an epochal "objective spirit." Objective spirit indicates the ways in which the past has been objectified and continues to shape contemporary practices and it is analyzed in the human sciences as cultural systems and the external organization of society. A significant characteristic of the Formation is the development of the notion of "productive system or nexus." This new translation of Wirkungszusammenhang suggests a historical efficacy or productivity prior to any analysis of it as either causal or teleological (SW3: 4).The human sciences include the study of dynamic interconnected systems that articulate the intersection of meaning, value, purpose, and force. Dilthey interpreted these temporally, such that meaning primarily concerns how humans are determined by their past, value is based on their present feeling of life, and purpose is projective striving into the future in the face of productive forces (Kräfte) which cannot always be predicted or controlled.For Dilthey, understanding (verstehen) is intrinsically interpretive. Humans can cognize themselves and others only indirectly (SW3: 108), since we are conscious and reflective beings who are bound to the facticity of our bodies and world. Given that we know ourselves and others primarily through actions, life-expressions, and their effects—rather than through introspection or intuition—and that everyday understanding can face breakdowns and what seems distant or strange, elementary understanding leads to higher forms of understanding and interpretation; i.e., hermeneutics. Dilthey's project of a critique of historical reason proceeds from the context of life in all of its complexity and concreteness to the conceptual cognition of the sciences and, finally, to reflective awareness (Besinnung). This reflection is made possible by the prereflective reflexivity (Innesein or Innewerden) of the human subject and, with its double meaning of "sense" (Sinn) as meaning and bodily awareness, constitutes the basic movement of Dilthey's thought.Understanding provides more than scientific access to... (shrink)

How should we think about the role of visual spatial awareness in perception and perceptual knowledge? A common view, which finds a characteristic expression in Kant but has an intellectual heritage reaching back farther than that, is that an account of spatial awareness is fundamental to a theory of experience because spatiality is the defining characteristic of “outer sense”, of our perceptual awareness of how things are in the parts of the world that surround us. A natural counterpart to (...) this idea is to treat self-consciousness as residing in a kind of sense that is fundamentally “inner”, such as introspection or whatever else gives one privileged access to his own mental states as well as the proprioceptive and kinesthetic awareness of bodily position. This division is compatible, of course, with the idea that inner sense provides an awareness of a distinctive kind of “body space”, but it treats that as importantly different from the awareness of the worldly space around one. -/- In contrast to such a picture, this dissertation proposes an account of visual spatial awareness according to which it is no less a source of self-consciousness than of the awareness of the objects around us, and an account of self-awareness in which visual experience is essentially implicated. I begin by arguing that we should think of visual spatial awareness not as necessary for the individuation of visual sensations but rather as an essential element in the awareness of an experientially objective world. In the subsequent chapters, I argue that in being visually aware of the egocentric positions of the worldly objects around us we are often aware also of our own spatial locations with respect to them, and that the visual experience of the world around one and one’s own situation in it is often an essential component in the knowledge that a human agent will have of his own intentional actions. (shrink)

This piece continues ideas developed in my essay, Mind Matters, through responding to the critique of that essay by Peter K. Manning. Manning cannot conceive that human conduct involves full-bodied semiosis rather than disembodied conceptualism, and that the study of human signification requires a full-bodied understanding. The ancient Greek root phren, basis for the concept of phronesis, is rooted in the heart-lungs-solar plexus basis of bodily awareness, and provides a metaphor for a discussion of bio-developmental, biosemiotic capacities as crucial (...) for human culture. Manning’s use of Wittgenstein is contrasted with the outlook of Charles Peirce. The intense attunement to and reverence for animals and plants in hunter-gatherer peoples is more than some conceptual collective representations system or interaction order or psychological belief system, explainable by Durkheim or Goffman, or Jung’s universal structure of the “collective unconscious,” or by neural net theory. It exemplifies how those peoples are in real learning relationships to the instinctive intelligence of their habitats, deep learning expressed not only in trial-and-error experience but also in the sense of wonder, communicated in ritual life. Mind is found literally in those transactions, not in isolate brains or disembodied conceptualism. (shrink)

Human mind and human body have been separated from each other as belonging to familiar different categories. But what if we are supposed to admit a category of bodily posture? This is a paper to advance a thesis that mental content in bodily posture is a basis to integrate mind and body. First, what is the basis to claim that there is such a thing as a bodily posture? We humans all communicate each other not only through (...) an ordinary language but also through human postures. Often human postures are much more efficient ways of expressing of ourselves and of understanding each other. Affirmation of this is more natural than its denial. -/- Second, human postures have a mental content. Nodding expresses an agreement to what is suggested where turning indicates disapproval or ignorance. Nodding and turning are physical acts. And so far as they are acts they carry mental contents. But it is important that we do correctly understand the mental contents in such acts. Often mental acts have been taken to be subjective or solipsistic. But contemporary discussions on mental content indicate that mental content carries a wide context rather than a narrow one. If so, this would help us to see how body and mind integrate themselves in the human conception of ourselves. (shrink)

In this chapter, I will present an empirical conjecture to the effect that some bodily actions are categorically perceived. These are bodily actions such as grasping or reaching for something, which I am going to call motor actions. My conjecture builds on one recently put forward about how the categorical perception of facial expressions of some emotions works. I shall motivate my own conjecture on the basis of both theoretical and empirical considerations, describe how it could be operationalised (...) and what explanatory gain could be obtained from it. (shrink)

This is a 2020 revision of my 1988 dissertation "The Choreography of the Soul" with a new Foreword, a new Conclusion, a substantially revised Preface and Introduction, and many improvements to the body of the work. However, the thesis remains the same. A theory of consciousness and trance states--including psychedelic experience--is developed. Consciousness can be analyzed into two distinct but generally interrelated systems, which I call System X and System Y. System X is the emotional-visceral-kinaesthetic body. System X is a (...) harmonic system of "endokinetic" (internal bodily) and "ectokinetic" (emotionally expressive) movement. System Y is a "teleokinetic" (goal directed) system that includes language, cognition, perception, voluntary motor control, manipulation of the environment, etc. Contrary to theories of consciousness prevalent in the Western philosophical traditions that begin with Plato, I argue that System Y is secondary to and dependent upon System X, not the reverse. In building my thesis I draw upon the work of Friedrich Nietzsche, psychoanalysis, Jungian depth psychology, political anthropology, modern neuroscience, Pythagorean music theory, and the mathematical theory of harmonic systems. (shrink)

In the thesis I offer an analysis of the metaphysical underpinnings of the extended cognition thesis via an examination of standard views of metaphysical building (or, dependence) relations. -/- In summary form, the extended cognition thesis is a view put forth in naturalistic philosophy of mind stating that the physical basis of cognitive processes and cognitive processing may, in the right circumstances, be distributed across neural, bodily, and environmental vehicles. As such, the extended cognition thesis breaks substantially with the (...) still widely held view in cognitive science and philosophy of mind, namely that cognitive processes and cognitive processing take place within the skin-and-skull of individual organisms. The standard view of metaphysical building relations can be expressed as the conjunction of two theses. First, that a metaphysical building relation – such as composition, constitution, realization, supervenience or emergence – is a relation of ontological dependence, because if a metaphysical building relation holds between X (or the Xs) and Y, then it is in virtue of X (or the Xs) that Y exists. Second, metaphysical building relations are synchronic (durationless) relations of ontological dependence. In the thesis, I propose an alternative diachronic framework by which to extend the standard synchronic accounts of metaphysical dependence relations, and by which to reformulate the metaphysical foundation of the extended cognition thesis. The project fills an important gap between analytical metaphysics (in particular, the metaphysics of dependence relations) and naturalistic philosophy of mind (especially the extended cognition thesis). To my knowledge there has been no attempt to establish a robust diachronic account of metaphysical building (or, dependence) relations such as, e.g., composition and constitution. However, this is precisely what I argue is required to properly advance and ground the metaphysics of extended cognition. Ultimately, my aim of reformulating the metaphysics of extended cognition consists in taking several steps toward a third-wave of extended cognition. (shrink)

Psychoanalysis, particularly as articulated by figures like Freud and Lacan, highlights the inherent division within the human subject—a schism between the conscious and unconscious mind. It could be said that this suggests that such an internal division becomes amplified in the context of generative art, where technology and algorithms are used to generate artistic expressions that are meant to emerge from the depths of the unconscious. Here, we encounter the tension between the conscious artist and the generative process itself, which (...) may yield unexpected, even uncontrollable results. -/- This paper, therefore, seeks to address this division within the modern subject and its relationship to technology, wherein the division within the living body is revealed through the presence of prosthetic elements, which mirrors the division brought about by the incorporation of language as a signifier. I argue that the amplification of this internal schism does not necessarily lead to a more fractured subject. Instead, generative art, bolstered by advancements in AI and machine learning, offers a unique opportunity for individuals to externalize and explore their minds in novel ways. -/- By examining contemporary works such as Hal Foster’s Prosthetic Gods, which stands as a pivotal exploration of the convergence between modernist art and psychoanalytic theory and Isabel Millar’s Psychoanalysis of Artificial Intelligence, this paper elucidates the profound implications of Freud’s vision of modern -/- subjectivity as Prothesengott (Prosthetic God) and address the questions concerning this technological imbrication of the human mind and body through the Lacanian framework. Although for Freud, Man does not become a real God, rather, the potential to transcend one’s limitations ascribes us to God-like qualities by seeking to generate new forms of life that go beyond merely reproducing nature — a transcention of the natural. Millar emphasizes that Freud observes that this is evidenced by the fact that these additional organs remain distinct from the organism and can never assimilate into it. One continually falls short of realizing the fantasy he envisions, opting instead to use his supplementary artificial organs to endlessly revolve around the objects of the drive. -/- This evolving relationship that the drive has with its technological objects, resounds in Lacan’s conception of “lathouse” which allows extimate objects to convert interiority (unconscious) into exteriority (conscious) and exteriority into interiority. The thesis of this paper seeks to employ this underutilized concept to understand the nature of human subjectivity and its bodily and structural relationship to generative art. Therefore, this paper emphasizes what really happens when we enter into this relationship with the lathouse, whereby this artificial object has effects in the "real of jouissance", where these Lathouses create a network, namely the Alethosphere. My goal is to argue that generative art as a technological development, can be seen as an extension to the development of the drive. Conclusively, I make the claim for generative art's potential to externalize the human creative drive by emphasizing the interplay between randomness and structure, and how it offers a means to surpass our inherent limitations by presenting an avenue for self-expression that transcends traditional modes of art. (shrink)

El consentimiento informado del paciente se inserta en el ámbito de su autonomía decisoria. Aunque presenta un sustrato corporal, este aparece combinado con elementos de índole moral que presuponen una noción concreta de persona como libre y autónoma. Tanto de las definiciones doctrinales como del material normativo se desprende que se trata de una posición jurídica subjetiva del paciente, alternativamente calificada como una “pretensión” o “derecho subjetivo en sentido estricto”, en términos hohfeldianos; un “derecho negativo de defensa”, o una “inmunidad”. (...) En España, el Tribunal Constitucional ha vinculado el consentimiento informado del paciente al derecho fundamental a la integridad física y moral (15 CE), lo cual permite plantear el análisis en clave iusfundamental. Con todo, se advierten dudas e incompatibilidades entre la explicación habitual del consentimiento informado, su fundamento constitucional y su regulación jurídica. El objetivo del presente libro consiste en proporcionar una definición integral del consentimiento informado como derecho subjetivo del paciente y como manifestación de un derecho fundamental, a partir de una óptica poliédrica que aporta certeza en la práctica asistencial y jurídica. // The patient's right to informed consent is inserted within the scope of his decisional autonomy. Although it has a bodily background, it is combined with features of moral nature, which presupposes a concrete notion of the person as free and autonomous. Both, doctrinal approaches and normative legal material show that it is a subjective legal position of the patient, being alternatively qualified as a Hohfeldian “claim” or a “subjective right in a strict sense”; a "negative right" or an "immunity." The Spanish Constitutional Court has linked the informed consent of the patient to the fundamental right to physical and moral integrity (15 CE), which allows us to propose a fundamental rights-based analysis. Nonetheless, doubts and inconsistencies are perceived between the customary explanation of informed consent, its constitutional foundation and its legal regulation. The aim of this book is to provide a comprehensive definition of informed consent as subjective right of the patient and expression of a fundamental right, from a multi-fold perspective that provides certainty in both legal and health care practice. (shrink)

This is a letter from an amateur philosopher to Alex Byrne expressing perplexity on reading Byrne's chapter in The Oxford Handbook of the Philosophy of Mind, "Sensory Qualities, Sensible Qualities, Sensational Qualities" (2009). A version of the theory of indirect perception is described using several analogies and one autobiographical episode. It is described as a realization that occurred historically and may occur to individuals, supplanting default naive realism. Byrne's readings of various philosophers' accounts of sensory qualities are then contrasted with (...) an interpretation consistent with the adduced theory of indirect perception. The difficulty of imagining the view from the opposite side of the direct/indirect perception divide is remarked upon. (shrink)

To a first approximation, ‘bodily skill’ refers to the capacity to successfully utilize the body in the world to achieve goals. But the body is complex, and bodily skill manifests in many different ways. Further, work on bodily skill spans the philosophy of mind, action, and cognitive science, as well as the sciences of motor control and perception. This chapter aims to provide an overview of recent themes and key ideas. First, we review work on the nature (...) of skill as such. Second, we discuss ways theorists have discussed the implementation of skill in the human body, and a theoretical difficulty associated with explanations of implementation. Third, we discuss the importance of the idea of a hierarchical representational architecture for understanding skill’s implementation, and various ways this architecture can be made more sophisticated. Fourth, we discuss work that attempts to understand skill execution on-the-fly, and in particular, work that attempts to understand the connection between intentions and motor representations, and the connection between implicit sensorimotor adaptation and explicit planning and executive control. Fifth, we discuss work on the models that assist fine-grained skill execution, as well as the idea that even at rapid, fine-grained motoric levels, one finds intelligent systems and mechanisms supporting skill. Finally, we consider the place of bodily awareness in an account of bodily skill. (shrink)

Kaplan (1999) argued that a different dimension of expressive meaning (“use-conditional”, as opposed to truth-conditional) is required to characterize the meaning of pejoratives, including slurs and racial epithets. Elaborating on this, writers have argued that the expressive meaning of pejoratives and slurs is either a conventional implicature (Potts 2007) or a presupposition (Macià 2002 and 2014, Schlenker 2007, Cepollaro and Stojanovic 2016). We argue that an expressive presuppositional theory accounts well for the data, but that expressive presuppositions are not just (...) propositions to be added to a common ground. We hold that expressives, including pejoratives and slurs, make requirements on a contextual record governed by sui generis norms specific to affective attitudes and their expressions. (shrink)

Individuals suffering from depression consistently report experiencing a lack of connectedness with others. David Karp (2017, 73), in his memoir and study of depression, has gone so far to describe depression as “an illness of isolation, a disease of disconnectedness”. It has become common, in phenomenological circles, to attribute this social impairment to the depressed individual experiencing their body as corporealized, acting as a barrier between them and the world around them (Fuchs 2005, 2016). In this paper, I offer an (...) alternative view of the experience of social disconnectedness in depression, suggesting that rather than necessarily experiencing their body as object-like, the depressed individual’s bodily is saturated with experiences of lethargy, tiredness, heaviness, sadness, hopelessness and so on, to the exclusion of being able to bodily connect to others. I suggest that depression does not involve a complete social impairment but a specific impairment of affective forms of interpersonal experience. (shrink)