In lieu of an abstract, here is a brief excerpt of the content:Transcendence and SensibilityAffection, Sensation, and Nonintentional ConsciousnessIrina Poleshchuk (bio)Over the years, the question of sensibility has largely been discussed in a variety of discourses developed in the humanities and has gained attention in psychology and the cognitive sciences. Sensibility has been seen as a constituent part of subjectivity, endowing subjectivity with meanings developed in different layers of subjective and inter-subjective life, but also as setting new horizons of (...) ethical becoming. In this context, Emmanuel Levinas represents a unique philosophical approach: sensibility reveals the core of the ethical encounter with the other person, including traumatic experience and ethical gift of this intersubjective encounter. The ethical event starts from sensibility and from the radicality on which the face-to-face relation is built, but it also results from the sensible life of subjectivity. I address here a famous line in Levinas’s Otherwise than Being, or Beyond Essence: “Only a subject that eats can be for-the-other” (OB 74). In its hunger, and in its constant search for the means of feeding itself, subjectivity is for the first time disclosed as a vulnerable and affected self. This vulnerability [End Page 1] is different in its nature from the vulnerability provoked by the appeal of the other. The satisfaction of needs, the ability to enjoy food, to enjoy laboring to acquire it, but also the memory of the pain caused by hunger all indicate fundamental levels of vulnerability whereby the self is exposed to the affection of the otherness. In the following sections of Otherwise than Being, Levinas moves further toward disclosing a sensible subjectivity endowed with transcendence. Sensibility becomes structured as the other-in-the-same, where the trace of the other is exactly transcendence impregnating subjectivity. Here, being affected by the other, the vulnerable and the sensible self takes its crucial forms: it is pure passivity, it is an ultimate exposure, and it is nonintentional. These modalities of sensibility are to indicate ethical mapping of subjectivity where responsibility for the other eventually becomes irreversible.To approach the novelty of sensibility as the central component of the face-to-face relation, I elucidate the function and meaning of mechanisms enabling subjectivity to be structured as the other-in-the-same. The face-to-face relation is, first of all, an experience of the affective trace left by the appeal of the other. Thus, my goal is to explicate how this affection, manifested as the address of the other, is embedded in Levinas’s reading of sensuous intuition and how the affection enlightens an ethical sensibility at the level of nonintentional consciousness and passivity. Beginning with Husserl’s view of hyletic data, I discuss the work of affection and sensation in intentional consciousness and how these feelings participate in constructing sensibility. I analyze the importance of Levinas’s innovative idea of nonintentional consciousness, leading up to the concept of passivity, which acts as the host of transcendence or, in other words, of the other-in-the-same. Finally, I turn to the phenomenon of two sensibilities and provide an interpretation of their structures and their role in building face-to-face relations.Sensation and AffectionThe first step toward unraveling sensibility is to address Urhyle. Urhyle plays an essential role in the dimension of affection, sensation, [End Page 2] and sensibility. In his earlier works, Levinas addresses hyle and, to some extent, follows Husserl’s reflections on Urhyle and affection. A discussion of Urhyle will help to elucidate Levinasian logic.For Husserl, Urhyle is “a foreign core in me” (Ichfremdekern).1 Being something foreign within consciousness, Urhyle indicates a core within consciousness, which leads to a constitutive bifurcation of the self and of the nonself. The appearance of Urhyle is indirect: it is not constitutive, it does not constitute itself, but rather Urhyle structures the constitution of the self. How can Urhyle be shown? Affected consciousness or sensible data is the first strange or alien content within the self, affecting and exciting the self as nonconsciousness (Unbewüßtsein) on the level of original hyletic (Urhyle) preconsciousness and allowing primary sensibility to grow, which apparently becomes a content of the self.2 Consciousness is, first of all... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Transcendence and SensibilityAffection, Sensation, and Nonintentional ConsciousnessIrina Poleshchuk (bio)Over the years, the question of sensibility has largely been discussed in a variety of discourses developed in the humanities and has gained attention in psychology and the cognitive sciences. Sensibility has been seen as a constituent part of subjectivity, endowing subjectivity with meanings developed in different layers of subjective and inter-subjective life, but also as setting new horizons of (...) ethical becoming. In this context, Emmanuel Levinas represents a unique philosophical approach: sensibility reveals the core of the ethical encounter with the other person, including traumatic experience and ethical gift of this intersubjective encounter. The ethical event starts from sensibility and from the radicality on which the face-to-face relation is built, but it also results from the sensible life of subjectivity. I address here a famous line in Levinas’s Otherwise than Being, or Beyond Essence: “Only a subject that eats can be for-the-other” (OB 74). In its hunger, and in its constant search for the means of feeding itself, subjectivity is for the first time disclosed as a vulnerable and affected self. This vulnerability [End Page 1] is different in its nature from the vulnerability provoked by the appeal of the other. The satisfaction of needs, the ability to enjoy food, to enjoy laboring to acquire it, but also the memory of the pain caused by hunger all indicate fundamental levels of vulnerability whereby the self is exposed to the affection of the otherness. In the following sections of Otherwise than Being, Levinas moves further toward disclosing a sensible subjectivity endowed with transcendence. Sensibility becomes structured as the other-in-the-same, where the trace of the other is exactly transcendence impregnating subjectivity. Here, being affected by the other, the vulnerable and the sensible self takes its crucial forms: it is pure passivity, it is an ultimate exposure, and it is nonintentional. These modalities of sensibility are to indicate ethical mapping of subjectivity where responsibility for the other eventually becomes irreversible.To approach the novelty of sensibility as the central component of the face-to-face relation, I elucidate the function and meaning of mechanisms enabling subjectivity to be structured as the other-in-the-same. The face-to-face relation is, first of all, an experience of the affective trace left by the appeal of the other. Thus, my goal is to explicate how this affection, manifested as the address of the other, is embedded in Levinas’s reading of sensuous intuition and how the affection enlightens an ethical sensibility at the level of nonintentional consciousness and passivity. Beginning with Husserl’s view of hyletic data, I discuss the work of affection and sensation in intentional consciousness and how these feelings participate in constructing sensibility. I analyze the importance of Levinas’s innovative idea of nonintentional consciousness, leading up to the concept of passivity, which acts as the host of transcendence or, in other words, of the other-in-the-same. Finally, I turn to the phenomenon of two sensibilities and provide an interpretation of their structures and their role in building face-to-face relations.Sensation and AffectionThe first step toward unraveling sensibility is to address Urhyle. Urhyle plays an essential role in the dimension of affection, sensation, [End Page 2] and sensibility. In his earlier works, Levinas addresses hyle and, to some extent, follows Husserl’s reflections on Urhyle and affection. A discussion of Urhyle will help to elucidate Levinasian logic.For Husserl, Urhyle is “a foreign core in me” (Ichfremdekern).1 Being something foreign within consciousness, Urhyle indicates a core within consciousness, which leads to a constitutive bifurcation of the self and of the nonself. The appearance of Urhyle is indirect: it is not constitutive, it does not constitute itself, but rather Urhyle structures the constitution of the self. How can Urhyle be shown? Affected consciousness or sensible data is the first strange or alien content within the self, affecting and exciting the self as nonconsciousness (Unbewüßtsein) on the level of original hyletic (Urhyle) preconsciousness and allowing primary sensibility to grow, which apparently becomes a content of the self.2 Consciousness is, first of all... (shrink)

To discover affects within Husserl’s texts designates a difficult investigation; it points to a theme of which these texts were forced to speak, even as they were explicitly speaking of regional ontologies and the foundations of sciences. For we may at first wonder: where can affection find a positive role in the rigor of a pure philosophy that seeks to account for its phenomena from within the immanence of consciousness? Does this not mean that the very passivity and foreignness of (...) affect will be overlooked; will it not be continually linked to a Vorstellung that issues as a ray of the pure ego? That is, will the phenomenological account of affect be reduced to the cognition of an object, as Emmanuel Levinas suggests? Yet there are affects in Husserl’s texts that maintain their autonomy and resist subsumption to an objectivating intentionality.We may see this in the Lectures On the Phenomenology of the Consciousness of Internal Time: in the longitudinal intentionality of retention, through which consciousness becomes aware of its elapsed phases without making them into objects—a passive synthesis that gives the flow of time-constituting consciousness the form of a continually deferred auto-affection.1We find it again as early as the fifth Logical Investigation, 2 providing us with the impetus to radicalize Husserlian phenomenology. (shrink)

Figures of Simplicity explores a unique constellation of figures from philosophy and literature—Heinrich von Kleist, Herman Melville, G. W. Leibniz, and Alexander Baumgarten—in an attempt to recover alternative conceptions of aesthetics and dimensions of thinking lost in the disciplinary narration of aesthetics after Kant. This is done primarily by tracing a variety of “simpletons” that populate the writings of Kleist and Melville. These figures are not entirely ignorant, or stupid, but simple. Their simplicity is a way of thinking, one that (...) Birgit Mara Kaiser suggests is affective thinking. Kaiser avers that Kleist and Melville are experimenting in their texts with an affective mode of thinking, and thereby continue a key line within eighteenth-century aesthetics: the relation of rationality and sensibility. Through her analyses, she offers an outline of what thinking can look like if we take affectivity into account. (shrink)

Emotional experiences typically labelled “being moved” or “feeling touched” may belong to one universal emotion. This emotion, which has been labelled “kama muta”, is hypothesised to have a positive valence, be elicited by sudden intensifications of social closeness, and be accompanied by warmth, goosebumps and tears. Initial evidence on correlations among the kama muta components has been collected with self-reports after or during the emotion. Continuous measures during the emotion seem particularly informative, but previous work allows only restricted inferences on (...) intra-individual processes because time series were cross-correlated across samples. In the current studies, we instead use a within-subject design to replicate and extend prior work. We compute intra-individual cross-correlations between continuous self-reports on feeling moved and (1) positive and negative affect; (2) goosebumps and subjective warmth and (3) appraisals of closeness and morality. Results confirm the predictions of kama muta theory that feeling moved by intensified communal sharing cross-correlates with appraised closeness, positive affect, warmth and (less so) goosebumps, but not with negative affect. Contrary to predictions, appraised morality cross-correlated with feeling moved as much as appraised closeness did. We conclude that strong inferences on emotional processes are possible using continuous measures, replace earlier findings, and are largely in line with theorising. (shrink)

This paper discusses recent neuroscientific research that indicates a solution for what we label the ''causal problem'' of pain qualia, the problem of how the brain generates pain qualia. In particular, the data suggest that pain qualia naturally supervene on activity in a specific brain region: the anterior cingulate cortex (ACC). The first section of this paper discusses several philosophical concerns regarding the nature of pain qualia. The second section overviews the current state of knowledge regarding the neuroanatomy and physiology (...) of pain processing. The third section highlights the recent research by Rainville et al. [(1997) Pain affect encoded in human anterior cingulate but not somatosensory cortex, Science, 277, 968-971], which suggests that pain affect is encoded in the ACC. The final section of the paper spells out exactly how these data affect the causal problem of pain qualia. (shrink)

Does inner sense, like outer sense, provide inner sensations or, in other words, a sensory manifold of its own? Advocates of the disparity thesis on inner and outer sense claim that it does not. This interpretation, which is dominant in the preexisting literature, leads to several inconsistencies when applied to Kant’s doctrine of inner experience. Yet, while so, the parity thesis, which is the contrasting view, is also unable to provide a convincing interpretation of inner sensations. In this paper, I (...) argue that this deadlock can be traced back to an inadequate understanding of inner sense shared by both sides. Drawing upon an analysis of the notion of obscure representations, I offer an alternative interpretation of inner sense with a special regard to self-affection, apprehension, and attention. From this basis, I will infer that outer sense delivers sensory content that is initially and intrinsically unaccompanied by phenomenal consciousness; inner sense contributes by endowing such content with phenomenal consciousness. Therefore, phenomenal qualities can be regarded as the sensory manifold of inner sense. This alternative interpretation solves the long-standing dispute concerning inner sensations and would further illuminate Kant’s notion of inner experience. (shrink)

_ Source: _Volume 63, Issue 2, pp 117 - 147 I argue that Plato, in the _Timaeus_, draws deep theoretical distinctions between sensation and affect, which comprises pleasure, pain, desire and emotion. Sensation is both ‘fine-grained’ and ‘immediate’. Emotions, by contrast, are mediated and coarse-grained. Pleasure and pain are coarse-grained but, in a range of important cases, immediate. The _Theaetetus_ assimilates affect to sensation in a way the _Timaeus_ does not. Smell frustrates Timaeus because it (...) is coarse-grained, although unlike pleasure and pain it is so by accident of physiology. (shrink)

Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his face, as a means (...) of attaining a pure intensity or Entity abstracted from all spatio-temporal coordinates, a condition of exhaustion/saturation that Deleuze and Guattari call, ‘non-human becoming’. Beckett's film is predicated on Bishop Berkeley's fundamental philosophical principle, esse est percipi (to be is to be perceived) and, using Keaton as its protagonist, raises the question of whether it is possible to escape perception, not only by a third party, but also by oneself. The latter is ‘played’ by the camera itself, which ‘stalks’ Keaton from behind, taking great pains not to exceed a 45-degree ‘angle of immunity’ (lest Buster experience percipi or the anguish of perceivedness) until the film's final close-up when he comes face to face with his own self-perception and affective annihilation. Film's denouement thus deconstructs the very nature of conventional cinematic language, whereby filmic suture – the enfolding of character, camera and spectatorial ‘viewing-views’ into a unified field of vision – gives way to a perspective where, at the very moment that the perceptive/affective body dies, the work of filmic art gives birth to itself as a being of pure sensation, exceeding lived experience. (shrink)

This book is an in-depth exploration of the nature of sensations and how they are affected by different types of stimuli. The author, Harold Griffing, presents a detailed analysis of the ways in which pressure and impact can influence sensations, and offers insights into how these findings can be applied in a variety of contexts. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work (...) is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This commentary begins by explaining how Mangan's important work leads to a question about the relation between non-sensory experiences and perception. Reflection on affect then suggests an addition to Mangan's view that may be helpful on this and perhaps some other questions. Finally, it is argued that acceptance of non-sensory experiences is fully compatible with epiphenomenalism.

The purpose of this article is to explore the concept of rhythm as enabling relations and thus as an appropriate mode of analysis for digital sound art installation. In particular, the article argues for a rhythmanalysis of the sonic event as a ‘vibrating sensation’ (Deleuze and Guattari) that incorporates the virtual without necessarily actualizing it. Picking up on notions such as rhythm, time, affect, and event, particularly through their discussion in relation to Susanne Langer’s work, I argue for (...) the consideration of the sonic event as an instance of a different kind of temporality subsisting underneath clock-time and sense perception. Ultimately, and this is the position of this essay, an investigation into experimental projects that interweave digital, sound, and aesthetic dimensions enables the articulation of a rhythmic time that helps account for the unknown, indeterminate, and unintentional forces immanent to the sonic. (shrink)

Traditional spiritual literature contains rich anecdotal reports of spontaneously arising experiences occurring during meditation practice, but formal investigation of such experiences is limited. Previous work has sometimes related spontaneous experiences to the Indian traditional contemplative concept of kundalini. Historically, descriptions of kundalini come out of Tantric schools of Yoga, where it has been described as a “rising energy” moving within the spinal column up to the brain. Spontaneous meditation experiences have previously been studied within Buddhist and Christian practices and within (...) eclectic groups of contemplative practitioners. Prior explorations of kundalini have emphasized extreme experiences, sometimes having clinical consequences. We conducted a first such investigation of kundalini-related experiences within a sample of meditators from a single Tantric Yoga tradition that emphasizes the role of kundalini. We developed a semi-structured questionnaire to conduct an exploratory pilot investigation of spontaneous sensory, motor and affective experiences during meditation practice. In addition to identifying the characteristics of subjective experiences, we measured quantity of meditation, supplemental practices, trait affect and trait mindfulness. We administered it to 80 volunteers at two Ananda Marga retreats. Among reported experiences, we found the highest prevalence for positive mood shifts, followed by motor and then sensory experiences. The frequency of spontaneous experiences was not related to the quantity of practiced meditation or trait measures of mindfulness and affect. Self-reports included multiple descriptions of rising sensations, sometimes being directly called kundalini. Experiences with rising sensations were complex and many included references to positive affect, including ecstatic qualities. There were also reports of spontaneous anomalous experiences. These experiences of rising sensations resemble prior clinical descriptions that were considered kundalini-related. The individuals who reported rising sensations could not be distinguished from other participants based on the incidence of experiences, quantity of meditation practice, or trait measures of mindfulness and affect. In contrast, greater amount of Tantric Yoga meditation practice was associated with greater positive affect, less negative affect and greater mindfulness. Further study of these exploratory findings and how they may be related to spiritual and well-being goals of meditation is warranted along with scientific investigation of purported kundalini phenomena. (shrink)

Recent social theory that stresses the ‘nonrepresentational’, the ‘more-than visual’, and the relationship between affect and sensation have tended to assume some kind of break or rupture from historical antecedents. Especially since the contributions of Crary and Jay in the 1990s, when it comes to perceiving the built environment the complexities of sensation have been partially obscured by the dominance of a static model of vision as the principal organizing modality. This article returns to some prior historical (...) articulations of the significance of motility in perception, retracing pathways across art history, architectural theory and the history of neuroscience to argue for an alternative model based on the movement of the eye. Along with subsystems that deal with balance and orientation, I offer parallels between spatial motifs of the interior spaces of the body – labyrinths, vestibules, chambers – and those in artefacts and the built environment that contribute to the heightened physicality of the oculomotor subject. (shrink)

Recent years have witnessed an increasing number of attempts to reconstruct Marxian theory in forms that can be assessed by reference to currently received standards in various disciplines. The work has even been said to establish a new paradigm: “analytical Marxism.” One doesn't have to endorse this claim to recognize a good deal of merit in the work. Through creative application of state-of-the-art methods to traditional Marxian issues, researchers have promoted productive cross-fertilization with non-Marxian programs and have revealed many problems (...) that must be resolved for fruitful development of Marxian theory. Marx's work can be relevant to today's problems only if it is examined from vantage points provided by subsequent scientific and philosophical achievements. Moreover, critical engagement with the best science of the day has been an essential part of the Marxian theoretical project from the beginning. (shrink)

In its classical conception, game theory aspires to be a determinate decision theory for games, understood as elements of a structurally specified domain. Its aim is to determine for each game in the domain a complete solution to each player's decision problem, a solution valid for all real-world instantiations, regardless of context. "Permissiveness" would constrain the theory to designate as admissible for a player any conjecture consistent with the function's designation of admissible strategies for the other players. Given permissiveness and (...) other appropriate constraints, solution sets must contain only Nash equilibria and at least one pure-strategy equilibrium, and there is no solution to games in which no symmetry invariant set of pure-strategy equilibria forms a Cartesian product. These results imply that the classical program is unrealizable. Moreover, the program is implicitly committed to permissiveness, through its common-knowledge assumptions and its commitment to equilibrium. The resulting incoherence deeply undermines the classical conception in a way that consolidates a long series of contextualist criticisms. (shrink)

Marx criticized political economy for propounding an inverted, mystical view of economic reality. But he went beyond asserting the falsity and apologetic character of the doctrine to characterize it as reflecting a social practice of inversion or mystification — an inverted social world — in which individuals incorporate their own actions into a process whose dynamic lies beyond their control. Caught up in this process, individuals confront aspects of their own agency in the alien or reified form of a given, (...) determining reality. Marx leaves unclear exactly how the process exerts and maintains its hold on agents, the nature of the reasons they might have for wanting to free themselves of it, and under what conditions they could do so. However, it is possible to abstract somewhat from Marx's specific concerns and to model a self-reproducing practice of reification that works through the informational environment of decision. Though of wider interest, this more general conception can shed light on the nature and critique of Marx's inverted world. It draws on conceptual resources from decision theory, game theory and general equilibrium theory. (shrink)

This working paper uses the works of philosophers like Hegel, Marx, and Rawls to explore political philosophy and estrangement.

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and (...) semiotic models. Renewing and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

Limited distribution phenomena related to negation and negative polarity are usually thought of in terms of affectivity where affective is understood as negative or downward entailing. In this paper I propose an analysis of affective contexts as nonveridical and treat negative polarity as a manifestation of the more general phenomenon of sensitivity to (non)veridicality (which is, I argue, what affective dependencies boil down to). Empirical support for this analysis will be provided by a detailed examination of affective dependencies in Greek, (...) but the distribution of any will also be shown to follow from (non)veridicality. (shrink)

Educational neutrality states that decisions about school curricula and instruction should be made independently of particular comprehensive doctrines. Many political philosophers of education reject this view in favor of some non-neutral alternative. Contrary to what one might expect, some prominent liberal neutralists have also rejected this view in parts of their work. This paper has two purposes. The first part of the paper concerns the relationship between liberal neutrality and educational neutrality. I examine arguments by Rawls and Nagel and argue (...) that some of the same arguments they use to justify liberal neutrality also justify educational neutrality; thus, if we accept these arguments for liberal neutrality, we should also accept educational neutrality. The second part of the paper defends educational neutrality against objections that it is impossible and objections that it is undesirable. (shrink)

In the article, I develop some ideas introduced by Edmund Husserl concerning time-consciousness and embodiment. However, I do not discuss the Husserlian account of consciousness of time in its full scope. I focus on the main ideas of the phenomenology of time and the problem of bodily sensations and their role in the constitution of consciousness of time. I argue that time-consciousness is primarily constituted in the dynamic experience of bodily feelings. In the first part, I outline the main ideas (...) of Husserl’s early phenomenology of consciousness of time. In the second part, I introduce the phenomenological account of bodily feelings and describe how it evolved in Husserl’s philosophy. Next, I discuss the idea of bodily self-affection and the affective-kinaesthetic origin of consciousness’ temporal flow. In order to better understand this “pre-phenomenal temporality”, I analyse the dynamics of non-intentional, prereflective bodily self-affection. In the third part, I try to complement Husserl’s account by describing the specific dynamics of bodily experience. In order to do so, I appeal to Daniel Stern’s psychological account of dynamic bodily experience, which he calls the “vitality affect”. I argue that the best way to understand the pre-phenomenal dynamics of bodily feelings is in terms of the notion of rhythm. (shrink)

A recent widely reported study found that some participants would prefer to self-administer a small electric shock than be bored. This flawed study serves as a departure point to diagram pain and sensation beyond the boundaries of the individual body, consisting of four sections. First, in terms of laboratory-based experimentation and auto-experimentation with pain, there is a long history of viewing pain and touch through introspective means. Second, later theories of pain successively widened the scope of the physiological mechanisms (...) and external influences on the organism, such as Melzack and Wall’s cybernetics-influenced gate control theory. Third, we briefly consider the nervous system as a homeostatic system, which finds an historical parallel in explanations of the milieu intérieur of the organism, via Claude Bernard and Kurt Goldstein. Fourth, pain helps tip the organism as a whole from perception to action, but also operates beyond the organism as a biopsychosocial phenomenon. (shrink)

This text addresses a problem that is not sufficiently dealt with in most of the recent literature on emotion and feeling. The problem is a general underestimation of the extent to which affective intentionality is essentially bodily. Affective intentionality is the sui generis type of world-directedness that most affective states – most clearly the emotions – display. Many theorists of emotion overlook the extent to which intentional feelings are essentially bodily feelings. The important but quite often overlooked fact is that (...) the bodily feelings in question are not the regularly treated, non-intentional bodily sensations (known from Jamesian accounts of emotion), but rather crucial carriers of world-directed intentionality. Consequently, most theories of human emotions and feelings recently advocated are deficient in terms of phenomenological adequacy. This text tries to make up for this deficit and develops a catalogue of five central features of intentional bodily feelings. In addition, Jesse Prinz’s embodied appraisal theory is criticized as an exemplary case of the misconstrual of the bodily nature of affective experience in naturalistic philosophy of mind. (shrink)

According to Reid, color sensations are not extended nor are they arranged in figured patterns. Reid further claimed that ‘there is no sensation appropriated to visible figure.’ Reid justified these controversial claims by appeal to Cheselden's report of the experiences of a young man affected by severe cataracts, and by appeal to cases of perception of visible figure without color. While holding fast to the principle that sensations are not extended, Dugald Stewart tried to show that ‘a variety of (...) colour sensations is a necessary means for the perception of visible figure.’ According to John Fearn, two motives appear to be central to Reid's views about color sensations and extension: his commitment to the Cartesian doctrine of the immateriality of the soul, and his attempt to evade ‘Hume's dilemma’ about the existence and immateriality of the soul. (shrink)

In Between Shadows and Noise, Amber Musser develops a sensuous method of analysis by moving past the representational clarity of Enlightenment thinking and into the irrational and vulnerable space of shadow and the unruly and excessive dimensions of noise. For Musser, shadows and noise are categories of embodied relation or critical situatedness--modes of attending to context, relation, and hierarchy through affective and sensorial body work. The book's analysis of various art objects, such as Jordan Peele's film US and Samita Sinha's (...) sound performance This Ember State, is rooted in Musser's own autobiographical situatedness as a queer middle-class Black Caribbean expatriate woman and the various politics of difference those identities emerge from. Through a series of meditations on blackness, empire, and colonialism, Between Shadows and Noise offers Black feminist methods for sensing one's way through art (and living) using knowledges held by the body. (shrink)

Film theory has for so long been concerned with sociological, empirical and psychoanalytic approaches that its place within our aesthetic sensibilities seems to have been forgotten.Deleuze and Cinema aims to bring back debates about film as an art form - as part of an aesthetic process which incorporates the 'bodies' of our material, technological and molecular worlds. While much film theory has looked at desire in terms of (visual and spectator) pleasure, Barbara Kennedy suggests, in this provocative new study, that (...) these different perceptions of 'body' are responsible, as well as the brain/mind, for the ways in which visual elements of colour, movement, rhythm and sensation are acquired within, through and beyond our consciousness.Film is visceral, vital and dynamic, and wider frameworks of understanding are needed to explain these aesthetic resonances. Deleuze and Cinema asks: how can we begin to understand the cinematic experience as one of material capture, processuality and movement - as opposed to a spectator/text relationship - where desire and pleasure are part of a complex 'aesthetics of sensation'?Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon the book offers a new and creative collusion between Deleuzian philosophy - specifically Deleuze's ideas about desire, pleasure, sensation, affect and 'becoming-woman' - and contemporary film studies. (shrink)

What is it that makes a mental state conscious? Recent commentators have proposed that for Kant, consciousness results from differentiation: A mental state is conscious insofar as it is distinguished, by means of our conceptual capacities, from other states and/or things. I argue instead that Kant’s conception of state consciousness is sensory: A mental state is conscious insofar as it is accompanied by an inner sensation. Interpreting state consciousness as inner sensation reveals an underappreciated influence of Crusius on (...) Kant’s view, solves some long-standing puzzles concerning Kant’s difficult doctrine of self-affection, and sheds light on his theory of inner experience. (shrink)

In the present article, I compare Ernst Mach’s and Heinrich Gomperz’s contributions to the German-speaking positivist tradition by showing how, in trying to refound epistemology on the basis of one definite category of experiential element, namely, sensation and feeling, respectively, they each epitomized one major trend of Immanenzpositivismus. I demonstrate that, besides Mach’s “sensualist” conception of positivism – in light of which historians have tended thus far to interpret all German-speaking positivist research of that period – there also existed (...) an “affectivist” conception of positivism, which originated in Avenarius’s empiriocriticism and culminated in Gomperz’s pathempiricism. Here I aim to provide a new perspective on the history of positivism by highlighting the role played in it by psychological concerns. First, I revisit the notion of Immanenzpositivismus, the form of positivism that prevailed in both Germany and Austria between the late nineteenth and early twentieth centuries: in addition to addressing the definition of this philosophical school of thought, I discuss the issue of “pure experience”, from which the positivists tried to reinterpret the foundations of knowledge. Second, I deal with Mach’s sensation-based approach to Immanenzpositivismus by commenting on his ontological and typological analysis of the constitutive elements of experience and emphasizing the fact that his concept of Empfindung is a relatively ill-defined notion in light of contemporary psychological standards. Moreover, I show that, despite his pretense of confining his epistemological developments to the analysis of sensations, Mach did not deny the involvement of feelings in epistemology, as clearly evidenced by some passages of Erkenntnis und Irrtum. Third, I analyze Gomperz’s feeling-based conception of Immanenzpositivismus, that is, pathempiricism, by highlighting how he strove to radically refound epistemology on the basis of the most recent advances of affective psychology. Focusing on the question of language sciences, I also discuss how he considered the role of feelings in the various forms of theoretical knowledge, the only field of investigation that he revisited in detail in his unfinished book, the Weltanschauungslehre. Fourth and last, I contrast Gomperz’s with Mach’s positivist model and argue that the former is more coherent and has a higher explanatory power than the latter. In conclusion, I insist on the importance of revisiting pathempiricism within the broader framework of affective epistemology. (shrink)

In drawing out how human lives are always already inextricably entangled with the non-human elements of the world, this paper explores how stone, as a constituent of urban materiality, provokes a wealth of emotional, sensory and affective impacts in the experience of place. The paper discusses how the sonic, tactile and visual qualities of stone contribute to the sensory and affective experience of places, shape the symbolic meanings and affective impacts of diverse memorials, and trigger a powerful sense of geological (...) conviviality. (shrink)

One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema (...) offers a point in case: a large collection of recently released French films typify this willingness to explore cinema's unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world. (shrink)