This paper takes five different perspectives on kinesthesia, beginning with its evolution across animate life and its biological distinction from, and relationship to proprioception. It proceeds to document the historical derivation of “the muscle sense,” showing in the process how analytic philosophers bypass the import of kinesthesia by way of “enaction,” for example, and by redefinitions of “tactical deception.” The article then gives prominence to a further occlusion of kinesthesia and its subduction by proprioception, these practices being (...) those of well-known phenomenologists, practices that exemplify an adultist perspective supported in large part by the writings of Merleau-Ponty. Following this extended critical review, the article shows how Husserl’s phenomenology enlightens us about kinesthesia and in doing so offers us substantive clues to the phenomenology of learning as it takes place in the development and acquisition of skillful movement. It shows further how phenomenological methodology contrasts markedly with existential analysis, most significantly in its recognition of, and its ability to set forth a developmental history, a veritable genetic phenomenology that is basically a phenomenology of learning anchored in kinesthesia. After showing how that phenomenology of learning finds mutual validation in a classic empirical study of infant movement, the article ends by highlighting how human “I cans” are grounded in “I move,” specifically, in the pan-human ability to learn one’s body and learn to move oneself. (shrink)

Illusory kinesthetic sensation was influenced by motor imagery of the wrist following tendon vibration. The imagery and the illusion conditions commonly activated the contralateral cingulate motor area, supplementary motor area, dorsal premotor cortex, and ipsilateral cerebellum. This supports the notion that motor imagery is a mental rehearsal of movement, during which expected kinesthetic sensation is emulated by recruiting multiple motor areas, commonly activated by pure kinesthesia.

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)

Understanding the neural underpinnings of emotion enables a re-imagining of traditional aesthetics in which landscape art is conceived as "dance for the dancer." Eschewing the "ocularcentric" for the _kinesthetic_ yields a fresh theory of artistic expression in landscape applicable to all fine art.

Accounting for expression presents a central problem for aesthetic theories; It is the problem of how a nonsentient physical object—a painting, a concerto, a dance—can “carry” or convey human emotion. How, for example, does a perceived shape or “form” become a “felt” form? In dance, to speak of “form” is to refer to both the changing shape of the dancer’s body and the dynamic shape the dancer’s movements describe in space. Dance is distinguished from some other visual arts in that (...) the seen object, the dancer, unlike, say, a work of sculpture, presumably has experienced emotions even if she does not experience them while dancing. The audience spectator, however, does not see the dancer’s emotions, only her bodily... (shrink)

The phenomenological theory of constitution promises a solution for the problem of consciousness insofar as it changes the traditional terms of this problem by systematically correlating subject and object in the unifying context of intentional acts. I argue that embodied constitution must depend upon the role of kinesthesia as a constitutive operator. In pursuing the path of intentionality in its descent from an idealistic level of pure constitution to this fully embodied kinesthetic constitution, we are able to gain access (...) to different ontological regions such as physical thing, owned body and shared world. Neuroscience brings to light the somatological correlates of noemata. Bridging the gap between incarnation and naturalisation represents the best way of realizing the foundational program of transcendental phenomenology. (shrink)

Sense of agency can be defined as the self-awareness of bodily movement, whereas extended agency as the self-awareness of affecting, through movement, events concomitant with movement. As a distinctive manifestation of agency, we review Spizzo's effect. This effect arises when agents coordinate their rhythmic movements with visual pulses. Once coordination is established, agents feel controlling the onset or the offset of the pulses through their movements. Spizzo's effect, therefore, constitutes a manifest case of extended agency, in which agents are aware (...) of controlling, through movement, the pulses temporally concomitant with movement. We propose that sense of agency requires continuity of kinesthesia, which in turn requires the continuity of selfhood. The continuity of kinesthesia is necessarily deduced from the consistent kinematics observed in movements, whereas the continuity of selfhood may stem from the patterns of rhythmic coordination that humans encounter ever since intrauterine life. The primacy of these patterns in adults is in accordance with phenomena such as Spizzo's effect, which require coordination to be induced. We, therefore, propose coordination as the fundamental interaction from which selfhood, kinesthesia, and agency arise. (shrink)

This paper considers dimensions of animate life that are readily “embodied” by phenomenologists and by other philosophy and science researchers as well. The paper demonstrates how the practice of “embodying” short-circuits veritable phenomenological accounts of experience through a neglect of attention to Husserl’s basic conception of, and consistent concern with, animate organism. The paper specifies how in doing so, the practice muddies a clear distinction between the body ‘I have’ and the body ‘I am’, and a clear account of their (...) lived conjunction in existential fit. In turn, the paper shows how the practice falls short of recognizing synergies of meaningful movement created by animate organisms; how it is tethered to talk of posture and sensation over kinesthesia and dynamics; and how, in general, the practice of embodying generates static rather than dynamic understandings of everyday life. The paper then critically considers how such liabilities preclude in-depth phenomenological insights into topics such as ‘ownership’ and ‘agency,’ and why inquiries into the nature of animate organisms require nothing less than fine-tuned attention to foundational experiences of animate life, including foundational ontogenetical experiences that undergird adult proficiencies and abilities, and hence fine-tuned attention to learning and to retaining what is learned in kinesthetic memory. (shrink)

This paper raises fundamental questions about the claims of art historian David Freedberg and neuroscientist Vittorio Gallese in their article "Motion, Emotion and Empathy in Esthetic Experience." It does so from several perspectives, all of them rooted in the dynamic realities of movement. It shows on the basis of neuroscientific research how connectivity and pruning are of unmistakable import in the interneuronal dynamic patternings in the human brain from birth onward. In effect, it shows that mirror neurons are contingent on (...) morphology and corporeal-kinetic tactile-kinesthetic experience. Accordingly, it poses and answers the overlooked but seminally important question of how mirror neurons come to be. The original neuromuscular research of Parma neuroscientists and the findings of Marc Jeannerod concerning kinesthesia support the answer that the "underpinnings" of visual art appreciation are themselves underpinned. An abbreviated phenomenological analysis of movement and its implications regarding the fact that the making of all art is quintessentially contingent on movement, hence a dynamic enterprise, further bolster the given answer as does a brief review of an empirical phenomenological analysis of the natural dynamic congruency of emotions and movement. In the end, the paper shows that movement and life are of a piece in the creation and appreciation of art as in everyday life. (shrink)

This target article draws together two groups of experimental studies on the control of human movement through peripheral feedback and centrally generated signals of motor commands. First, during natural movement, feedback from muscle, joint, and cutaneous afferents changes; in human subjects these changes have reflex and kinesthetic consequences. Recent psychophysical and microneurographic evidence suggests that joint and even cutaneous afferents may have a proprioceptive role. Second, the role of centrally generated motor commands in the control of normal movements and movements (...) following acute and chronic deafferentation is reviewed. There is increasing evidence that subjects can perceive their motor commands under various conditions, but that this is inadequate for normal movement; deficits in motor performance arise when the reliance on proprioceptive feedback is abolished either experimentally or because of pathology. During natural movement, the CNS appears to have access to functionally useful input from a range of peripheral receptors as well as from internally generated command signals. The unanswered questions that remain suggest a number of avenues for further research. (shrink)

Movement and, more particularly, kinesthesia as a modality and as a metaphor has become of interest at the intersection of phenomenology and cognitive science. In this paper I wish to combine three historically related strands, aisthêsis, kinesthesis and aesthetics, to advance an argument concerning the aesthetic value of certain somatic sensations. Firstly, by capitalizing on a recent regard for somatic or inner bodily senses, including kinesthesia, proprioception and the vestibular system by drawing lines of historical continuity from earlier (...) philosophical investigations on bodily background experience, initially from aisthêsis, Aristotle’s concept of the sensory faculty. Secondly, concepts of the sensate body are advanced through discoveries in the nervous system and related discussions of the ‘inner’ senses such as Charles Bell’s ‘muscle sense’ (1826), and what Charles Sherrington later termed ‘proprio-ception’ (1906). Thirdly, we consider the possibility of aesthetic status for those inner senses, where recently aesthetic arguments by Montero (2006) and Cole and Montero (2007) seek to determine aesthetic criteria for proprioception, and similarly in dance theory the aesthetic status of kinesthesia has been questioned (e.g. Foster 2011). Finally we consider whether previous exposure to a ‘grammar’ of movement is a factor in determining the relative aesthetic value. (shrink)

Excellent performance in sport involves specialized and refined skills within very narrow applications. Choking throws a wrench in the works of finely tuned performances. Functionally, and reduced to its simplest expression, choking is severe underperformance when engaging already mastered skills. Choking is a complex phenomenon with many intersecting facets: its dysfunctions result from the multifaceted interaction of cognitive and psychological processes, neurophysiological mechanisms, and phenomenological dynamics. This article develops a phenomenological model that, complementing empirical and theoretical research, helps understand and (...) redress choking. It aims at describing the experience of choking as experience, and to discuss strategies to palliate or prevent its onset at the pragmatic level at which athletes engage the phenomenon experientially. An overview of current empirical research and theoretical models highlights key ideas and points out contentious issues. The model describes the common structure of the choking experience. It identifies four core constitutive elements: A) disruptive proprioceptive and kinesthetic dynamics, B) a malfunctioning background or Jamesian fringe of consciousness, C) dislocated time dynamics, and D) emotional disturbances. The novelty of the remedy is that it is designed to cross disciplinary boundaries between phenomenology, historiography, and hermeneutics, and moreover connects theory to praxis as it looks at Japanese dō, practices of self-cultivation. It focuses on actual do-or-die situations, not putative ones such as important business deals or competing for a medal. To this effect, it examines medieval Japanese swordsmanship and training manuals and also engages risk sports, where death is indeed a real possibility. The manuals, which arise in the context of choke-inducing life or death duels, and risk sports, afford keen phenomenological observations and practical advice that prove invaluable for today’s sports world and beyond. (shrink)

This article offers a thorough and critical reading of Husserl’s Thing and Space. This reading is principally motivated by the effort to methodologically design a phenomenological–topological approach to the research of lived sonic environments. In this book, Husserl lays foundations of phenomenological topology by understanding perceptions as places and defining, consequently, the space as a system of places. The critical reading starts with pointing out the ambiguity of location in Thing and Space, which consists mainly in the insufficient implementation of (...) the distinction between the location and the localization. Further investigations then reveal the roots of this ambiguity in both the preference of visual perception and the omission of subjective aspects of kinesthesia. The article critically examines Husserl’s notion of the appended localization that expresses the marginalization of acoustic experience. In conclusion, the article utilizes the critical findings to formulate the project of a place-based, medium-centered, and multi-sensory approach to sonic environments. (shrink)

Proprioception has a crucial role in promoting or hindering motor learning. In particular, an intact position sense strongly correlates with the chances of recovery after stroke. A great majority of neurological patients present both motor dysfunctions and impairments in kinesthesia, but traditional robot and virtual reality training techniques focus either in recovering motor functions or in assessing proprioceptive deficits. An open challenge is to implement effective and reliable tests and training protocols for proprioception that go beyond the mere position (...) sense evaluation and exploit the intrinsic bidirectionality of the kinesthetic sense, which refers to both sense of position and sense of movement. Modulated haptic interaction has a leading role in promoting sensorimotor integration and it is a natural way to enhance volitional effort. Therefore, we designed a preliminary clinical study to test a new proprioception-based motor training technique for augmenting kinesthetic awareness via haptic feedback. The feedback was provided by a robotic manipulandum and the test involved 7 chronic hemiparetic subjects over three weeks. The protocol included evaluation sessions, that consisted of a psychometric estimate of the subject’s kinesthetic sensation, and training sessions, in which the subject executed planar reaching movements in the absence of vision and under a minimally assistive haptic guidance made by sequences of graded force pulses. The bidirectional haptic interaction between the subject and the robot was optimally adapted to each participant in order to achieve a uniform task difficulty over the workspace. All the subjects consistently improved in the perceptual scores as a consequence of training. Moreover, they could minimize the level of haptic guidance in time. Results suggest that the proposed method is effective in enhancing kinesthetic acuity, but the level of impairment may affect the ability of subjects to retain their improvement in time. (shrink)

This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set forth in (...) phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity. Series A. (shrink)

A hypothesis about sensorimotor integration (the λ model) is described and applied to movement control and kinesthesia. The central idea is that the nervous system organizes positional frames of reference for the sensorimotor apparatus and produces active movements by shifting the frames in terms of spatial coordinates. Kinematic and electromyographic patterns are not programmed, but emerge from the dynamic interaction among the system s components, including external forces within the designated frame of reference. Motoneuronal threshold properties and proprioceptive inputs (...) to motoneurons may be cardinal components of the physiological mechanism that produces positional frames of reference. The hypothesis that intentional movements are produced by shifting the frame of reference is extended to multi-muscle and multi-degrees-of-freedom systems with a solution of the redundancy problem that allows the control of a joint alone or in combination with other joints to produce any desired limb configuration and movement trajectory. The model also implies that for each motor behavior, the nervous system uses a strategy that minimizes the number of changeable control variables and keeps the parameters of these changes invariant. Examples are provided of simulated kinematic and electromyographic signals from single- and multi-joint arm movements produced by suggested patterns of control variables. Empirical support is provided and additional tests of the model are suggested. The model is contrasted with others based on the ideas of programming of motoneuronal activity, muscle forces, stiffness, or movement kinematics. (shrink)

According to Greimas, the semiotic square is far more than a heuristic for semantic and literary analysis. It represents the generative “deep structure” of human culture and cognition which “define the fundamental mode of existence of an individual or of a society, and subsequently the conditions of existence of semiotic objects” (Greimas & Rastier 1968: 48). The potential truth of this hypothesis, much less the conditions and implications of taking it seriously (as a truth claim), have received little attention in (...) the literature. In response, this paper traces the history and development of the logical square of opposition from Aristotle to Greimas and beyond, to propose that the relations modelled in these diagrams are embodied relations rooted in gestalt memories of kinesthesia and proprioception from which we derive basic structural awareness of opposition and contrast such as verticality, bilaterality, transversality, markedness and analogy. To make this argument, the paper draws on findings in the phenomenology of movement (Sheets-Johnstone 2011a, 2011b, 2012, Pelkey 2014), recent developments in the analysis of logical opposition (Beziau & Payette 2008), recent scholarship in (post)Greimasian semiotics (Corso 2014, Broden 2000) and prescient insights from Greimas himself (esp. 1968, 1984). The argument of the paper is further supported through a visual and textual content analysis of a popular music video, both to highlight relationships between the semiotic square and mundane cultural ideologies and to show how these relationships might be traced to the marked symmetries of bodily movement. In addition to illustrating the enduring relevance of Greimasean thought, the paper further illustrates the neglected relevance that embodied chiasmus holds for developments in anthropology, linguistics and the other cognitive sciences. (shrink)

This excerpt from Kenneth Kings essay, The Dancing Philosopher, traces its genesis from Nietzsches Thus Spoke Zarathustra that, in tandem with the emerging technology of the writing machine, camera and kinetoscope, conjoined the kinetropic and lexigraphemic to inaugurate the kinetic cogito. Maurice Merleau-Pontys phenomenological exposition of corporeality further amplified the reflexive potential of movement and the philosophical understanding of kinesthesia, and King cites as well the technosophic synergy of John Cages and Merce Cunninghams long artistic collaboration that furthered the (...) frontier of a mind-body epistemic. (shrink)

The focus of this article is the relation between life, sport, and disciplined movement. How do these enhance life? This means looking at sports in terms of the qualitative experiences they afford and considering the role of disciplined movement. Phenomenological description helps explore the normative paths that heighten said experiences. At their best, such paths result in skillful strivings to excel within communitarian frameworks, of which the Japanese practices of self-cultivation are exemplary. Sheets-Johnstone’s forays into kinesthesia, Ortega y Gasset’s (...) meditations, and Husserl’s historical lifeworld (lebenswelt) animate this account. The aim is to show how sports and movement, in bridling an exuberant temperament, cultivate our abilities, creativity, and excellence, ultimately encouraging stimulating lives.El artículo examina la relación entre la vida, los deportes, y el movimiento disciplinado. ¿Cómo mejoran éstos la vida? Esto implica evaluar a los deportes acorde a las experiencias cualitativas que hacen posibles y considerar el papel del movimiento disciplinado. La descripción fenomenológica ayuda a explorar los caminos normativos que mejoran tales experiencias. En los mejores casos, éstos conllevan esfuerzos hábiles de superación dentro de marcos comnunitarios. Las prácticas japonesas de autocultivo destacan a este respecto. Las indagaciones de Sheets-Johnstone sobre la kinestesia, las meditaciones de Ortega y Gasset, y las ideas de Husserl sobre el Lebenswelt histórico animan el análisis. El objetivo es mostrar cómo deportes y movimiento, al embridar un temperamento exuberante, cultivan nuestras destrezas, creatividad, y excelencia, fomentando, en ultimo término, vidas estimulantes. (shrink)

The aim of this paper is to provide a theoretical and formal framework to understand how the proprioceptive and kinesthetic system learns about body position and possibilities for movement in ongoing action and interaction. Whereas most weak embodiment accounts of proprioception focus on positionalist descriptions or on its role as a source of parameters for internal motor control, we argue that these aspects are insufficient to understand how proprioception is integrated into an active organized system in continuous and dynamic interaction (...) with the environment. Our strong embodiment thesis is that one of the main theoretical principles to understand proprioception, as a perceptual experience within concrete situations, is the coupling with kinesthesia and its relational constitution—self, ecological, and social. In our view, these aspects are underdeveloped in current accounts, and an enactive sensorimotor theory enriched with phenomenological descriptions may provide an alternative path toward explaining this skilled experience. Following O'Regan and Noë sensorimotor contingencies conceptualization, we introduce three distinct notions of proprioceptive kinesthetic-sensorimotor contingencies, which we describe conceptually and formally considering three varieties of perceptual experience in action: PK-SMCs-self, PK-SMCs-self-environment, and PK-SMC-self-other. As a proof of concept of our proposal, we developed a minimal PK model to discuss these elements in detail and show their explanatory value as important guides to understand the proprioceptive/kinesthetic system. Finally, we also highlight that there is an opportunity to develop enactive sensorimotor theory in new directions, creating a bridge between the varieties of experiences of oneself and learning skills. (shrink)

The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor (...) to situate this body within the colonial and expansionist politics of its historical moment. (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)

This paper attempts to elucidate the nature of kinesthetic memory, demonstrate itscentrality to everyday human movement, and thereby promote fresh cognitive andphenomenological understandings of movement in everyday life. Prominent topics in this undertaking include kinesthesia, dynamics, and habit. The endeavor has both a critical and constructive dimension.

According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience (...) in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed. (shrink)

This paper attempts to elucidate the nature of kinesthetic memory, demonstrate itscentrality to everyday human movement, and thereby promote fresh cognitive andphenomenological understandings of movement in everyday life. Prominent topics in this undertaking include kinesthesia, dynamics, and habit. The endeavor has both a critical and constructive dimension.

Abstract:This article explores the representation of human‒animal interaction in D. H. Lawrence's poems "Bat" and "Man and Bat." Many influential critics interpret the poems as emphasizing the lack of connection, hospitality, and empathy between the poet and the bats, focusing on the relentless objectification of the animals and the poet's negative attitude towards them. We argue, however, that these poems can also invite different types of readings, by investigating the ways in which Lawrence employs perceptual and kinetic imagery to create (...) a certain degree of embodied, kinesthetic empathy with the bats. Using theoretical and methodological frameworks from cognitive-literary approaches to kinesthesia and human‒animal studies, we analyze Lawrence's multilayered poetic rendition of human‒animal interaction, to understand how the poet stages the tension between the symbolic/cultural connotations associated with bats and humans' perception of their embodied, affective, and kinetic being. (shrink)

According Aristotle's On the Soul, the first and most important form of sensation which we human beings share with other animals is a sense of touch. Without touch animals cannot exist. The first part of my article presents Aristotle's teaching about the internal connection between the soul and the sensory powers, especially as regards the sense of touch. The second part consists of a collection of the classical considerations about this subject. The third part then deals with the actuality of (...) some Aristotle's thesis about touch with reference to current research in neurophysiology on kinesthesia and haptic perception. (shrink)

According Aristotle's On the Soul, the first and most important form of sensation which we human beings share with other animals is a sense of touch. Without touch animals cannot exist. The first part of my article presents Aristotle's teaching about the internal connection between the soul and the sensory powers, especially as regards the sense of touch. The second part consists of a collection of the classical considerations about this subject. The third part then deals with the actuality of (...) some Aristotle's thesis about touch with reference to current research in neurophysiology on kinesthesia and haptic perception. (shrink)

Damian Byers analyzes the form Husserl gives to the problem of knowledge—the way this form influences the development of the phenomenological method, and the results of its application. In a very clear fashion, Byers presents Husserl’s understanding of the roles of intentionality, idealism, temporalization, and kinesthesia in the constitution of knowledge. Drawing upon all of Husserl’s major texts, he corrects many misapprehensions about Husserl’s doctrines of intentionality and idealism. Byers argues that Husserl’s transcendental phenomenology is both a philosophy of (...) closure and control and a philosophy of openness and vulnerability. (shrink)

The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor (...) to situate this body within the colonial and expansionist politics of its historical moment. (shrink)

The phenomenon of experienced agency is related to perceptual‐motor coordination, and Solfo and van Leeuwen discuss two ways that context can change this relationship. One is that agency is experienced only in contexts where environmentally‐coupled actions are stitched together over time to form long‐range correlations. The other is that the locus of agency depends on the temporal relationship between actions and events in the environment.

Cet article se donne pour tâche l’examen de la fécondité conceptuelle d’une réduction paradigmatique souvent effectuée par les études en phénoménologie contemporaines de la danse : la réduction du mouvement dansé aux _kinesthèses_ par lesquelles il devrait être immédiatement vécu. Nous entendrons montrer, au contraire, que les kinesthèses ne permettent pas de rendre compte du mouvement vécu parce qu’elles le transforment en un vécu de mouvement demeurant extérieur au sujet qui le vit. Cette critique nous amènera ensuite à repenser conjointement (...) le mouvement dansé comme véritable sujet de la danse et le corps dansant comme déposé par ce mouvement en lequel il est pris. (shrink)

The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor (...) to situate this body within the colonial and expansionist politics of its historical moment. (shrink)

[Kinesthetic Memory] This paper attempts to elucidate the nature of kinesthetic memory, demonstrate its centrality to everyday human movement, and thereby promote fresh cognitive and phenomenological understandings of movement in everyday life. Prominent topics in this undertaking include kinesthesia, dynamics, and habit. The endeavor has both a critical and constructive dimension.

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)

ABSTRACT Present-day fixations on “embodied minds,” and “enactive” assessments of life fail to recognize alive, moving bodies, precisely as James Joyce implicitly shows in his experience-anchored descriptions of the ineluctable modality of the visual and of the audible. Joyce's experience-anchored descriptions accord with Edmund Husserl's renditions of “the kinestheses” and their integral relationship to perception and to the development of agency. They furthermore accord with John Dewey's writing on aesthetics that describe the immediacy of motion into sense and sense into (...) motion in both nonhuman animal life and aesthetic experience. William James's connection of the stream of thinking with the stream of breathing is in further accord. Such accords show that animate forms of life are essentially mindful bodies sensuously and affectively attuned to their surrounding world. Cave art, both its creation and appreciation, is further testimony to mindful bodies as is internationally known musician Roger Sessions eloquent descriptions documenting the integrality of movement to all the arts. All such accords testify to the central and essential presence of the sense modality of movement—kinesthesia—and its bodily engaged dynamics in animate life and in art. (shrink)

As its title indicates, this article shows animation to be the fundamental, essential, and properly descriptive concept to understandings of animate life. A critical and constructive path is taken toward an illumination of these threefold dimensions of animation. The article is critical in its attention to a central linguistic formulation in cognitive neuroscience, namely, enaction ; it is constructive in setting forth an analysis of affectivity as exemplar of a staple of animate life, elucidating its biological and existential foundations in (...) animation. (shrink)