The contributors to _Somaesthetics and Sport_ explore our embodied experiences of watching and playing sport, including sport’s beauty; the place of exercise in our sense of living a good life; and how we cope with pain and suffering.

This short paper is an attempt to intersect my reading of Alexander Kremer’s key ideas in his article Pragmatists on the Everyday Aesthetic Experience with my previous thoughts on banality as an aesthetic quality experienced by the modern subject in her everyday life. My contribution tries to interconnect key theoretical and artistic conceptions of banality with Shusterman’s somaesthetics and subsequently to reveal another possibility of rethinking the relationship between aesthetics and ethics.

In this article I focus on Jerold J. Abrams’ recently edited volume on Richard Shusterman’s somaesthetics and I assume as a starting point the concept itself of soma, widely cited and examined in various contributions collected in Abrams’ book. Then, I specifically concentrate my attention on one of the essays, the one authored by Stefán Snævarr, which connects in an interesting, original and sometimes also challenging way Shusterman’s thinking to some questions that have characterized the current debates in the (...) field of the philosophy of mind. On this basis, in the final part of my short essay I try to offer some provisional remarks on the potential and mutually enriching dialogue between Shusterman’s somaesthetics and embodied, extended and enactive approaches to perception and mind, such as those, for example, of contemporary theorists like Andy Clark, Shaun Gallagher and Alva Noë. (shrink)

Abstract: This article poses a number of questions to Richard Shusterman concerning his concepts of somaesthetics and body consciousness in his book Body Consciousness: A Philosophy of Mindfulness and Somaesthetics. How do the concepts relate to the kind of forgetfulness of the body that can happen in expert performance? What is the nature of somatic reflection, and how is it different from pre-reflective awareness of the body? The article suggests that our immersed involvement and overt orientation toward things, (...) and toward other people that concern us, involve bodily practices characterized by a performative forgetting of the body. Depending on the nature of the way we become aware of (or practice awareness of) the body, performance may be improved or disrupted. (shrink)

This essay presents somaesthetics of discomfort as an extension of the field of somaesthetics as developed by Shusterman. Using the work of Peirce and Dewey as a foundation upon which Shusterman and Johnson have considered the body as the basis of aesthetics, I propose that somaesthetics of discomfort provides a means of enhancing bodily awareness and reflection useful for domains of inquiry, such as healthcare and design. Taking Peirce’s notion of the irritation of doubt in a literal (...) sense, I explore bodily discomfort as the inception of inquiry. I consider work done by phenomenologists concerning experiences of comfort and discomfort, which includes definitions of each. My argument follows the perspective put forth by Peirce, Dewey, and contemporary pragmatists that experience is qualitative and that feeling is at the root of reflection. I explain how discomfort may be considered a type of aesthetic experience and provide examples of bodily discomfort as somaesthetic. In closing, I consider somaesthetic focus on discomfort as fostering moral imagination and empathy. (shrink)

This study delves into the philosophy, aesthetics, and educational components of somaesthetics to highlight the art of living by practicing body awareness. Specifically, this study focuses on ‘educ...

This book develops an original theory of performative beauty. Philosophical aesthetics has largely neglected one's own actions as a potential experience of the beautiful. Throughout the book, the author uses own experiences of Argentine tango as a case study; one important incentive for social dancing is to have pleasurable and beautiful experiences. This book begins by investigating the methodological causes for why beauty in modernity has been seen to result only from contemplating external objects. It then builds a theory of (...) performative beauty that incorporates findings from new phenomenology, neuroaesthetics, enactivism, and somaesthetics and that reassesses existing inquiries of beauty. The result is an account that identifies kinaesthetic awareness as the point of emergence of both theory and practice, of creation (poiesis) and perception (aisthesis), and of moving (agency) and being moved (reception). Performative beauty is the pleasure of being moved by the dance where the dancer feels both as a creative improvisor and as an integrated part of the activity itself. A Somaesthetics of Performative Beauty - Tangoing Desire and Nostalgia will appeal to scholars and advanced students working in aesthetics, dance studies, performance studies and related fields of artistic research. (shrink)

Scholars such as Michel Foucault and Pierre Bourdieu have shown how the body can become a site of oppression. But after all, the body can become a vehicle for resistance or emancipation. The contributors to this volume, referring to Richard Shusterman's concept of somaesthetics, show through various examples how this is possible. Moving away from Foucault’s and Bourdieu’s construal of the body as a site of oppression, the contributors to this volume draw on Richard Shusterman’s somaesthetics to argue (...) that the body can also be a vehicle for resistance and emancipation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious (...) means in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

In _African Somaesthetics: Cultures, Feminisms, Politics_, Catherine F. Botha brings together original research on the body in African cultures, interrogating the possible contribution of a somaesthetic approach in the context of colonization, decolonization, and globalization in Africa.

This paper explains the discipline of somaesthetics, which emerges from pragmatism's concern with enhancing embodied experience and reconstructing the aesthetic in ways that make it more central to key philosophical concerns of knowledge, ethics, and politics. I then examine Beauvoir's complex treatment of the body in The Second Sex, assessing both her arguments that could support the pragmatic approach of somaesthetics but also those that challenge its bodily focus as a danger for feminism.

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics and Racism:Toward an Embodied Pedagogy of DifferenceDavid A. Granger (bio)IntroductionThe philosopher Ludwig Wittgenstein once remarked that "The human body is the best picture of the human soul."1 There is a basic truth in this assertion that we recognize (I want to say) intuitively: the notion that human beings are parts both mental and physical, that these facets are ultimately interdependent, and that they are in some measure (...) correlated was a commonplace in the intellectual culture of ancient Athens, especially among Socratic thinkers. It can also be found as a central part of the basic ontology and ideals of self-cultivation espoused in much East Asian philosophy. In the West, however, this deep appreciation for the relationship between mind and body appears somewhat sporadically after the Socratics, only to be fervently reasserted as a main plank in the lived philosophy of the early American pragmatists, as when Henry David Thoreau proclaimed that "We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins to refine a mean's features, any meanness or sensuality to imbrute them."2I use the word "sporadically" above because it is likewise a basic truism that canonical Western philosophy has a long and storied history of rejecting, ignoring, or degrading the human body—that most formative part of our being and connection to the world and to others. The position of the later, more metaphysical Plato is iconic in this regard, and it effectively set the tone for much Christian theology and the Cartesian philosophy of consciousness. For Plato and his adherents, the longing to escape our embodiedness, conceived as a necessary means to human (or perhaps superhuman) perfection [End Page 69] by achieving a godlike existence, requires effectively divorcing ourselves from the irrational brutes of terra firma. The body is conceived as a static constraint to human flourishing rather than a dynamic enabler. It is more or less an adversary, something that we must endeavor to be freed from or subdue.3 Its base senses and unruly passions deceive us epistemologically, while its inexorable power to situate us in space and time limits our objectivity. In its inevitable pains and infirmities, the body is also a constant reminder of the aging process and of our ultimate mortality. Deeming the body as at best a mere servant of the mind, philosophers typically have portrayed it as a veritable prison of deception, temptation, and suffering. Moreover, it is well-established that such thinking has been particularly pernicious in light of the historical identification of women and other marginalized groups with their variously enfeebled, depraved, or uncivilized bodies.4Against this disquieting backdrop, it is only relatively recently that the human body, and the significance of our existence as embodied beings, has received sustained positive attention by leading lights in Western philosophy and criticism. These luminaries include, among others, "feminist" thinkers like Simone de Beauvoir, Julia Kristeva, Luce Irigaray and, of late, Susan Bordo and Judith Butler (with a nod to Michel Foucault, Pierre Bordeau, and others); pragmatists William James and John Dewey (with a nod to Emerson and Thoreau); phenomenologist Maurice Merleau-Ponty (with a nod to Jean-Paul Sartre); analytic philosopher Ludwig Wittgenstein (with a nod to James); and postmodernist Michel Foucault (with a nod to Friedrich Nietzsche, George Bataille, and the ancient Asian ars erotica tradition5). While these thinkers do not universally praise the body and its active, conscious cultivation for human flourishing (about which more later), they nonetheless acknowledge its necessity for all perception, action, and even thought.6 In short, they all seek to recognize and elucidate the significance—cognitive and affective, discursive and nondiscursive—of our full embodied intelligence.Looking specifically at the architectonics of the body espoused by the trio of Dewey, Foucault, and Wittgenstein, this article uses what philosopher Richard Shusterman terms "analytic somaesthetics" to examine some of the primary embodied dimensions of feeling, perception, action, and thought, particularly through the functioning of habit.7 In doing so, it seeks to expose the way various ideologies of domination (for example, racism, sexism, classism, ableism, heterosexism, ageism, etc.) are covertly (and at times overtly) materialized... (shrink)

In the presentation of his project about ‘somaesthetics’, Richard Shusterman claimed that the recurring neglect of the body in aesthetics was disastrously introduced by Alexander Gottlieb Baumgarten (1714–1762) in his first formulation of aesthetics as a discipline in the mid-eighteenth century. In the present essay I aim to call this thesis into question, investigating for the first time the role of the body in Baumgarten’s thought and focusing on its significance for the founding of aesthetics. First, I consider Baumgarten’s (...) doctrine of the body in general and of the human body in particular, in its relationship with the soul. I then turn to discuss Baumgarten’s resumption of the scholastic discipline of ‘somatology’ as a philosophical investigation of the body in both its theoretical and practical – namely, dietetical, side. On these bases, I deal with two examples of dietetic embellishment of the body, one presented by Baumgarten himself (cosmetics) and the other put forward by his pupil and co-founder of disciplinary aesthetics Georg Friedrich Meier (physical exercise and somatic fine arts). Subsequently, I explore the ways in which Meier and Baumgarten use dietetics to foster beautiful thinking. Finally, I conclude that nascent aesthetics is concerned with the aesthetic care of the body both insofar as the body can be a stage of aesthetic value and insofar as the body is a necessary presupposition for beautiful thinking. (shrink)

Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shuster- man offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying (...) approaches to dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form ; develop somaesthetics for a wider range of theatre dance ; and relate somaesthetics to more general features of dance necessary for understanding the roles of the choreographer/dancer and the viewer. (shrink)

In this paper I suggest that an ambivalence toward—sometimes hatred of—bodies has contributed to violence against bodies. I take my cue from the work of Richard Shusterman who coined the word “somaesthetics” and who has called for a new philosophical discipline of the same name. Shusterman’s work provides the beginning of a new matrix for a positive body consciousness. I also glance briefly at the work of Mark Johnson and other pragmatists who have urged a new conceptualization of bodies (...) and minds in the light of cognitive science. I suggest that this positive body consciousness is an essential element in the philosophy of nonviolence and the quest for less violence against bodies. I then consider helpful traditions from the east, particularly Daoism, that already have a developed system of body-mind-spirit practices that aid body consciousness. Such traditions, adapted and modified to our context in the west, may provide the practice for an authentic nonviolent existence where bodies matter more than they have in the past. (shrink)

In this paper I suggest that an ambivalence toward—sometimes hatred of—bodies has contributed to violence against bodies. I take my cue from the work of Richard Shusterman who coined the word “somaesthetics” and who has called for a new philosophical discipline of the same name. Shusterman’s work provides the beginning of a new matrix for a positive body consciousness. I also glance briefly at the work of Mark Johnson and other pragmatists who have urged a new conceptualization of bodies (...) and minds in the light of cognitive science. I suggest that this positive body consciousness is an essential element in the philosophy of nonviolence and the quest for less violence against bodies. I then consider helpful traditions from the east, particularly Daoism, that already have a developed system of body-mind-spirit practices that aid body consciousness. Such traditions, adapted and modified to our context in the west, may provide the practice for an authentic nonviolent existence where bodies matter more than they have in the past. (shrink)

Preview: /Commentary: Richard Shusterman, Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love, 436 pages./ Somaesthetics, the field cultivated by Richard Shusterman since 1997, bore another juicy fruit for our enjoyment. This time, his interdisciplinary research – integrating the theoretical, empirical, and practical disciplines related to bodily perception, presentation, and performance – resulted in an excellent cross-cultural study of the classical arts of love developed over centuries in such traditions as the Greco-Roman, Chinese, Indian, Muslim, Medieval (...) and European Renaissance. Somaesthetic methodology provides fertile ground for such a comparative inquiry by encouraging new ways to understand the cultural dimension of human sexuality. It complements the popular 4EC perspectives applied in cognitive science which explore cognition as embodied, embedded, enactive, and expanded: emphasizing our bodily interaction with the physical and social environment. Shusterman’s analysis of the classical arts of love as aesthetically refining sexual experience gives due acknowledgement to our somatic and sensual, but also emotional and imagery engagement in the world, commonly neglected in modern philosophy. (shrink)

Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores Life (...) to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

The philosopher Ludwig Wittgenstein once remarked that "The human body is the best picture of the human soul."1 There is a basic truth in this assertion that we recognize (I want to say) intuitively: the notion that human beings are parts both mental and physical, that these facets are ultimately interdependent, and that they are in some measure correlated was a commonplace in the intellectual culture of ancient Athens, especially among Socratic thinkers. It can also be found as a central (...) part of the basic ontology and ideals of self-cultivation espoused in much East Asian philosophy. In the West, however, this deep appreciation for the relationship between mind and body appears somewhat sporadically after the .. (shrink)

Shusterman, R. (2021) Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love. Cambridge: Cambridge University Press. ISBN 978-1107004764.

Shusterman, R. (2021) Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love. Cambridge: Cambridge University Press. ISBN 978-1107004764.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 104-117 MuseSearchJournalsThis JournalContents[Access article in PDF]Performative Somaesthetics: Principles and ScopeEric C. MullisJohn Dewey's aesthetic has been invoked in recent discussions because many have realized that it resists the pull toward conceptualism that characterizes a great deal of aesthetic theory. Further, Art as Experience—Dewey's chief work on the philosophy of art—is rich with ideas that call for development. Richard Shusterman's work does (...) just this as it suggests that Dewey's approach is a practical alternative to those that hinder a comprehensive understanding of art and/or ignore art's capacity to enrich the quality of lived experience. More specifically, Shusterman develops key Deweyan ideas by considering the aesthetic merits of popular music and by exploring Dewey's "somatic naturalism," that is, a naturalism that strives to understand the role played by the human body in aesthetic experience. Somaesthetics is the pragmatic discipline that explores somatic practices and ultimately demonstrates how they can lead to the attainment of fulfilling experiences. Shusterman argues that various disciplines can be taken up in order to improve the clarity of somatic functioning, perception, and thought as they "help us reconstruct our attitudes or habits of feeling to give us greater flexibility and tolerance to different kinds of feeling and bodily behavior." 1 Ultimately, Dewey's emphasis on the everyday origins of aesthetic experience is combined with his rejection of mind-body dualism in order to demonstrate how aesthetic experiences can be cultivated through such practices. One is not limited to going to museums and reading art criticism in order to have meaningful aesthetic experiences because somaesthetics shows how one's body can be transformed into a locus of aesthetic value.This said, we also find that similar techniques are used in the training of actors, dancers, and other performance artists. Performative somaesthetics explores the body disciplines that are instrumental to the performer's craft—that allow him or her to master the body and to enhance its expressive powers. In this article I would like to explore a few elements of this [End Page 104] craft in order to flesh out what the performance arts can reveal about the aesthetic body. In order to do so I will need to first say something about Shusterman's pragmatist aesthetic and the Deweyan foundation of that approach. After this is done I will discuss what I take to be a few core principles of performative somaesthetics and, with them in mind, will go on to discuss the relationship between practical and performative somaesthetics.Aesthetic MeliorismIn Art as Experience Dewey describes the process of "doing and undergoing," in which the energies and forces of the environment mix with those of the organisms that inhabit it. 2 For human beings life is lived to its fullest when difficult situations arise and are efficiently dealt with, that is, when the energies of particular situations are ordered and brought into accord with those of the individuals within them. This, in turn, renders experience meaningful as it simultaneously produces a sense of agency and solves particular problems. Ultimately, Dewey notes that the process of doing and undergoing is the foundation of aesthetic experience because it marks those intense organic moments that stand out from the broader context of humdrum or chaotic experiences: "Art... unites the very same relation of doing and undergoing, outgoing and incoming energy, that makes an experience to be an experience." 3 Aesthetic experience, like any instance of doing and undergoing, involves the organization of energies, which solves a characteristically aesthetic problem. For artists this may be the problem of adequately expressing emotion and for observers it may be interpreting or judging the quality of a work. Regardless, for Dewey the aesthetic must not be conceptually or institutionally divorced from its broader context, for doing so not only ignores its natural origins but also limits its ability to imbue the world with meaning. Hence, Shusterman writes that for Dewey, "if anything is to have human value, it must in some way serve... (shrink)

Somaesthetics and Sport (ed. Andrew Edgar, Brill, 2022) is a multifaceted collection of essays: Richard Shusterman’s theoretical framework is robust enough to lend unity to the volume, but it mostly functions as a springboard for the individual papers, never suffocating their theoretical explorations or making the book repetitive or a boring read. The ten essays also communicate with one another through certain recurring notions such as agency, somatic awareness, the Suitsian account of games or the interdisciplinary intertwining of philosophical (...) arguments with the results of sport psychology and physiology. Displaying the various ways Shusterman’s somaesthetics can be used to further the philosophical analysis of the aesthetic experience of watching and doing sports, the volume fills a gap in the scholarship of the aesthetics of sport as well as in the interdisciplinary field of somaesthetics. (shrink)

One can safely say that the martial arts are generally not viewed as practices that are conducive to aesthetic appreciation. Since serious martial arts practice entails physical aggression and a violent athleticism, it is difficult to see how one can aesthetically appreciate martial movement in the manner that one enjoys the refined movement of dancers, actors, and other performance artists. However, it has been suggested that sports provide aesthetic experiences for spectators and for the athletes who cultivate their bodies in (...) order to compete successfully.1 Since sports competition is often characterized by physical aggression, one is naturally led to consider whether martial arts also procure aesthetic.. (shrink)

_Shusterman’s Somaesthetics_ is a wide-ranging collection of penetrating essays by twelve scholars examining in rich detail the many dimensions of philosopher Richard Shusterman’s pragmatism and somaesthetics, complemented by his own chapter of responses to these scholars.

Burke is an important exception to Nietzsche's claim that philosophical aesthetics ignores physiology and the role of practical interest. Grounded on the powerful interest of survival, Burke's theory of the sublime also offers a physiological explanation of our feelings of sublimity that explicitly defines certain conditions of our nerves as the ‘efficient cause’ of such feelings. While his general account of sublimity is widely appreciated, its somatic dimension has been dismissed as hopelessly misguided. In examining Burke's views in relation to (...) contemporary somaesthetics, cognitive psychology, and physiology, this paper shows that though Burke's somatic arguments can be criticized as overly simplistic and mechanistic, his recognition of the crucial bodily dimensions of aesthetic experience should be taken more seriously. In refining Burke's insight that bodily factors can help explain our aesthetic reactions, somaesthetics further urges that improved somatic understanding and performance can provide valuable means for enhancing our aesthetic response. (shrink)

Among the many features that made Michel Foucault a remarkable philosopher was a doubly bold initiative: to renew the ancient idea of philosophy as a special way of life, and to insist on its distinctly somatic and aesthetic expression. This paper examines Foucault as an exemplary but problematic pioneer in a field I call somaesthetics, a discipline that puts the body’s experience and artful refashioning back into the heart of philosophy as an art of living. A long dominant Platonist (...) tradition, intensified by recent centuries of Cartesianism and idealism, has blinded us to a crucial fact that was evident to much ancient and non-Western thought: since we live, think, and act through our bodies, their study, care, and improvement should be at the core of philosophy, especially when philosophy is conceived as a special way of life, a critical, disciplined care of the self. (shrink)

In this essay, I first argue for the importance of somaesthetics in thinking about “autonomy” and “atmosphere” in architecture in a manner that brings about a critical re-education. Refusing the strict distinction between these architectural approaches through a turn to somaesthetics, I then turn to Kant’s theory of reflective judgment to set forth discursive possibilities for arriving at some understanding of the concept of architectural atmosphere. Finally, I suggest ways in which somaesthetics and Kantian thought can be (...) seen as mutually enhancing, rather than opposing each other. (shrink)

In his work on somaesthetics, Richard Shusterman employs Confucianism’s take on ritualized self-cultivation to address blind spots in Euro-American accounts. However, Shusterman’s remarks on the later classical-era thinker Xún Zǐ hint at a possible tension with the former’s pragmatism and promotion of somatic self-fashioning. The classical Confucian debate between Mencius and Xún Zǐ on human nature being either “good” or “bad” broaches issues of somaesthetics, namely as concerns self-cultivation being either internally spontaneous or externally imposed. Looking at this (...) debate can thus help the project of somaesthetics by bringing old, though in this case novel, vocabulary to bear on an issue with which Shusterman wrestles – the “ontic” status of somaesthetic practice. (shrink)

This paper examines the ten-year history of somaesthetics – describing the field's origins and genealogical roots, explaining its terminology, analyzing its structure, tracing its reception, exploring its most interesting applications, and responding to the most important criticisms that have been directed at it. Somaesthetics, as the paper shows, emerges from the framework of my work in pragmatist aesthetics which sought to revive aesthetics by bringing art closer to life and bridging the presumed divide between the aesthetic and the (...) practical while also advocating an idea of ethics as an art of living. One way to bring more life to aesthetics is to emphasize the role of the living body in art and aesthetic experience. Another strategy of revival is to expand the field of aesthetics to make it more relevant to more people by including practices of somatic stylization and enhanced somatic perception (aisthesis). Somaesthetics, a discipline of both theory and practice, deploys these means of revival, and seems to have had some positive influence. It has been applied by diverse authors in many different fields – from performance art and computer design, to sports, feminist issues of identity, and the use of technological body enhancements in the art of living. The three main branches of somaesthetics are introduced, and the complex structure of the field is used in refuting some of the typical criticisms made against it. Somaesthetics is not a blanket apology for the dangerous excesses of our body culture, but rather a site for the ideological critique of the dominant somatic ideals. Its interest in the body is not a celebration of irrationality or the abandoning of critical reflection. (shrink)

This paper explains the discipline of somaesthetics, which emerges from pragmatism's concern with enhancing embodied experience and reconstructing the aesthetic in ways that make it more central to key philosophical concerns of knowledge, ethics, and politics. I then examine Beauvoir's complex treatment of the body in The Second Sex, assessing both her arguments that could support the pragmatic approach of somaes-thetics but also those that challenge its bodily focus as a danger for feminism.

Preview: /Review: Satoshi Higuchi, Somaesthetics and the Philosophy of Culture: Projects in Japan (New York, NY; Oxford, England: Routledge, 2021), 138 pages./ Satoshi Higuchi’s Somaesthetics and the Philosophy of Culture is a succinct and innovative work in aesthetics and philosophy of education, despite what the title may otherwise imply. Indeed, the title may be the only shortcoming in this work, for it does not convey the scope of the concepts covered. It may be better titled Somaesthetics and (...) the Philosophy of Education, but even this does not express the important and fascinating discussions on the aesthetics of sports contained herein; and “education” is perhaps too narrow to encompass the range of application of the ideas (especially in the final part of the book). However, when the reader looks past the title, they will find a nicely organized work introducing readers to the topic of the aesthetics of sport, its application for improving pedagogy, and several avenues for further development in these areas. Higuchi’s previous work is a tireless series of granting legitimacy to the study of sports. Somaesthetics and the Philosophy of Culture is another important step in this project. Readers need not be familiar with Richard Shusterman’s multidisciplinary project of somaesthetics for, when it is necessary, Higuchi provides the relevant details. Readers who are familiar with somaesthetics will very quickly see how the ideas here complement it well. (shrink)

Thinking through the body: educating for the humanities -- The body as background -- Self-knowledge and its discontents: from Socrates to somaesthetics -- Muscle memory and the somaesthetic pathologies of everyday life -- Somaesthetics in the philosophy classroom: a practical approach -- Somaesthetics and the limits of aesthetics -- Somaesthetics and Burke's sublime -- Pragmatism and cultural politics: from textualism to somaesthetics -- Body consciousness and performance -- Somaesthetics and architecture: a critical option -- (...) Photography as performative process -- Asian ars erotica and the question of sexual aesthetics -- Philosophy as awakened life : everyday aesthetics of embodiment in American transcendentalism and Japanese Zen practice -- Somatic style. (shrink)

: This paper explains the discipline of somaesthetics, which emerges from pragmatism's concern with enhancing embodied experience and reconstructing the aesthetic in ways that make it more central to key philosophical concerns of knowledge, ethics, and politics. I then examine Beauvoir's complex treatment of the body in The Second Sex, assessing both her arguments that could support the pragmatic approach of somaesthetics but also those that challenge its bodily focus as a danger for feminism.

This article reviews and corrects frequent misunderstandings of somaesthetics, the multidisciplinary field of study of the lived body conceived by Richard Shusterman. After responding to an article published in Contemporary Pragmatism, I extend the discussion to cover larger topics of discussion related to somaesthetics and misapprehensions by its critics, including the nature of somatic experience, the role of pleasure, and the relevance of culture. In rectifying mistakes of understanding, it is hoped the effort will foster better understanding and (...) better critique. (shrink)

This paper begins by distinguishing three different but related foci of gastronomical aesthetic theory: food preparation and presentation; the gustatory qualities and social meanings of the food we eat; and finally the various actions involved in the ingestion of food. This third, largely ignored dimension of gastronomical theory, constitutes the topic of this paper, which seeks to define the distinctive character of this art, elucidate its diverse values, and analyze its key elements. Particular attention is given to the much overlooked (...) proprioceptive qualities and postural aspects of the art of eating. (shrink)

Richard Schusterman’s book, Ars erotica: sex and somaesthetics in the classical arts of love (Schusterman, 2021) is a path-finding, innovative contribution that breaks the silence around the long-held body-shying academic deprivation to erotic ideas with its free-flowing comprehensive discussion on carnal desire and erotic thoughts. Schusterman provides a panoramic yet vibrantly profound analysis of the aesthetic inclusion into erotic love following the culture of Asian and Western thoughts from the ancient era to the Renaissance. The book’s scope shows the (...) author’s deep inclusive com-mendable research into erotic study. Schusterman is renowned for his original approach to defining popular art and philosophy as an embodied art of living. He is also famous for his trailblazing concept of somaesthetics, rooted in pragmatist aesthetics, with Ars erotica being a fruitful product of his expertise in both. (shrink)

SHUSTERMANRICHARDCambridge University Press. 2021. pp. xvi+420. £23.

The book Aesthetic Experience and Somaesthetics, edited by Richard Shusterman, was published as the first volume of the Brill series “Studies in Som-aesthetics.”1 It includes papers prepared on the basis of lectures delivered by the participants of the international conference that took place in Budapest in June 2014, as well as articles written by scholars who did not take part in the conference but were invited to participate in the publication. The authors come from various countries, among others from (...) Hungary, Denmark, Italy, Finland, the United States, China... (shrink)