This paper investigates the role of a pre-existing body-model that is an enabling constraint for the incorporation of objects into the body. This body-model is also a basis for the distinction between body extensions (e.g., in the case of tool-use) and incorporation (e.g., in the case of successful prosthesis use). It is argued that, in the case of incorporation, changes in the sense of body-ownership involve a reorganization of the body-model, whereas extension of the body with tools does not involve (...) changes in the sense of body-ownership. (shrink)
This article argues for a more rigorous distinction between body extensions on the one hand and incorporation of non-bodily objects into the body on the other hand. Real re-embodiment would be a matter of taking things (most often technologies) into the body, i.e. of incorporation of non-bodily items into the body. This, however, is a difficult process often limited by a number of conditions of possibility that are absent in the case of ‘mere’ body extensions. Three categories are discussed: limb (...) extensions/prostheses, perceptual extensions/prostheses and cognitive extensions/prostheses. For each category, a distinction between extensions and incorporations is proposed, and the conditions of possibility for real incorporation are discussed. These conditions of possibility differ in each category, but in general they ask for radical or fundamental alterations not only in the motor and/or sensory or cognitive constitution of a human subject, but also in his or her subjective experience. (shrink)
This article presents two different phenomenological paths leading from ego to alter ego: a Husserlian and a Merleau-Pontian way of thinking. These two phenomenological paths serve to disentangle the conceptual–philosophical underpinning of the mirror neurons system hypothesis, in which both ways of thinking are entwined. A Merleau-Pontian re-reading of the mirror neurons system theory is proposed, in which the characteristics of mirror neurons are effectively used in the explanation of action understanding and imitation. This proposal uncovers the remaining necessary presupposition (...) of a minimalized version of the Husserlian concept of pairing and its recent and improved version in terms of the intermodal system. This leads to a layered approach to the constitution of intersubjectivity. (shrink)
The naturalization of consciousness and the way a subjective perspective arises are hotly debated both in the cognitive sciences and in more strictly philosophical contexts. A number of these debates, mainly inspired by neuroscientific findings, focus on the ‘visceral’ dimension of the body in order to formulate a hypothesis for the coming about of consciousness. This focus on what might be called the ‘in-depth body’ shows that consciousness or the subjective perspective is intimately linked with vital and visceral regulatory processes.I (...) join the debate by arguing that representationalist accounts of the origin of consciousness in the in-depth body exhibit a number of flaws hitherto mainly unnoticed. Furthermore, some aspects of neuroscientific theories are explored as possible validations of a nonrepresentationalist model of consciousness and the subjective perspective. Inspired by phenomenological philosophy, I present a hypothesis in which the subjective perspective constitutes itself and in which the ‘in-depth’ body is not the object of representations in the brain. Rather, the ‘in-depth body’ is in a non-objectified way built-in in the subjective perspective itself. In this account, therefore, the subjective perspective looses its transparency and gains ‘interoceptive thickness’. (shrink)
Several recent accounts claim that imagination is a matter of simulating perceptual acts. Although this point of view receives support from both phenomenological and empirical research, I claim that Jean-Paul Sartre's worry formulated in L'imagination (1936) still holds. For a number of reasons, Sartre heavily criticizes theories in which the sensory material of imaginative acts consists in reviving sensory impressions. Based on empirical and philosophical insights, this article explains how simulation theories of imagination can overcome Sartre's critique by paying attention (...) to the motor dimension of imagination. Intending to clarify the status of the sensory in imagination, a motor theory of imagination is presented in which the sensory component of imagination is interpreted in terms of anticipated sensory consequences of preparation for motor action. (shrink)
The main suggestions and objections raised by Don Ihde and Charles Lenay to my ‘Technology and the body: the (im)possibilities of re-embodiment’ are summarized and discussed. On the one hand, I agree that we should pay more attention to whole body experience and to further resisting Cartesian assumptions in the field of cognitive neuroscience and philosophy of cognition. On the other hand, I explain that my account in no way presupposes the myth of ‘natural man’ or of a natural, delineated (...) body from before the fall into technology. (shrink)
Body integrity identity disorder, formerly also known as apotemnophilia, is characterized by a desire for amputation of a healthy limb and is claimed to straddle or to even blur the boundary between psychiatry and neurology. The neurological line of approach, however, is a recent one, and is accompanied or preceded by psychodynamical, behavioural, philosophical, and psychiatric approaches and hypotheses. Next to its confusing history in which the disorder itself has no fixed identity and could not be classified under a specific (...) discipline, its sexual component has been an issue of unclarity and controversy, and its assessment a criterion for distinguishing BIID from apotemnophilia, a paraphilia. Scholars referring to the lived body—a phenomenon primarily discussed in the phenomenological tradition in philosophy—seem willing to exclude the sexual component as inessential, whereas other authors notice important similarities with gender identity disorder or transsexualism, and thus precisely focus attention on the sexual component. This contribution outlines the history of BIID highlighting the vicissitudes of its sexual component, and questions the justification for distinguishing BIID from apotemnophilia and thus for omitting the sexual component as essential. Second, we explain a hardly discussed concept from Maurice Merleau-Ponty’s Phenomenology of Perception, the sexual schema, and investigate how the sexual schema could function in interaction with the body image in an interpretation of BIID which starts from the lived body while giving the sexual component its due. (shrink)
This paper analyses the actual meaning of a transcendental philosophy of biology, and does so by exploring and actualising the epistemological and metaphysical value of Kant's viewpoint on living systems. It finds inspiration in the Kantian idea of living systems intrinsically resisting objectification, but critically departs from Kant's philosophical solution in as far as it is based in a subjectivist dogmatism. It attempts to overcome this dogmatism, on the one hand by explicitly taking into account the conditions of possibility at (...) the side of the subject, and on the other hand by embedding both the living and the knowing system into an ontology of complexly organized dynamical systems. This paper fits into the transcendental perspective in acknowledging the need to analyse the conditions of knowability, prior to the contents of what is known. But it also contributes to an expansion and an actualisation of the issue of transcendentality itself by considering the conditions of possibility at the side of the object as intrinsically linked to the conditions of possibility at the side of the subject. (shrink)
The aim of this article is to focus on the body as instrument or means in performance-art. Since the body is no monolithic given, the body is approached in terms of its constitutive layers, and this may enable us to conceive of the mechanisms that make performances possible and operational, i.e. those bodily mechanisms that are implicitly or explicitly controlled or manipulated in performance. Of course, the exploitation of these bodily layers is not solely responsible for the generation of meaning (...) in performance. Yet, it is that what fundamentally /enables/ the generation of sense and signification in performance-art. To approach the body in terms of its layers, from body image and body schema to in-depth body, may partly answer the complexity at work in art performances, since these concepts enable us to consider, on a theoretical level, the body as represented object, as subject, as motor means for being-in-the-world, as origin of subjectivity and emotions, as hidden but most intimate place of impersonal life processes, as possibly distant image, as sensitive, fragile and plastic entity, as something we own and are owned by, as our most personal and yet extremely strange body. (shrink)
After a brief introduction to Kuipers' views on explanations of laws we argue that micro-explanations of laws can have two formats: they work either by aggregation and transformation (as Kuipers suggests) or by means of function ascriptions (Kuipers neglects this possibility). We compare both types from an epistemic point of view (which information is needed to construct the explanation?) and from a means-end perspective (do both types serve the same purposes? are they equally good?).
The aim of this article is to focus on the body as instrument or means in performance-art. Since the body is no monolithic given, the body is approached in terms of its constitutive layers, and this may enable us to conceive of the mechanisms that make performances possible and operational, i.e. those bodily mechanisms that are implicitly or explicitly controlled or manipulated in performance. Of course, the exploitation of these bodily layers is not solely responsible for the generation of meaning (...) in performance. Yet, it is that what fundamentally /enables/ the generation of sense and signification in performance-art. To approach the body in terms of its layers, from body image and body schema to in-depth body, may partly answer the complexity at work in art performances, since these concepts enable us to consider, on a theoretical level, the body as represented object, as subject, as motor means for being-in-the-world, as origin of subjectivity and emotions, as hidden but most intimate place of impersonal life processes, as possibly distant image, as sensitive, fragile and plastic entity, as something we own and are owned by, as our most personal and yet extremely strange body. (shrink)
