Moving from a phenomenological theory of the lived body, the text outlines its constitutive role in human experience but especially in aesthetic perception. Against every reductionist and introjectionist objectification of the lived experience, every explanatory hypothesis of associationist and projectivist type, a pathic aesthetics ‒ that emphasizes the affective involvement that the perceiver feels unable to critically react to or mitigate the intrusiveness of ‒ is an adequate investigation of the felt body as sounding board of outside atmospheres and (...) Stimmungen. By means of its specific dynamics and lived “isles”, in fact the felt body feels what happens in the surrounding area without drawing on the five senses and the perceptual body schema. Felt-bodily isles turn out exactly to be both a tool for sensing the affective radiation provoked by atmospheres and quasi-things, and “places” that, communicating with each other and with our consciousness, are themselves quasi-things. (shrink)

Following Erika Fischer-Lichte’s notion of emergence as an unexpected phenome-non that questions the notion of agency, our aim is to investigate how dance emerges through movements that are spontaneous and yet learnt while not being reducible to a motor expertise. Through Hermann Schmitz’ theory of the felt body, and notions such as “kinaesthetic attention”, grace and “pure” presence, we will show how dance movements emerge from the mutual “affective” influence be-tween dancers and the surroundings thanks to dancers’ “pathic” state (...) between awareness and unconsciousness, laîcher prise and restraint. (shrink)

The paper investigates the kind of collective feeling – or, better, atmosphere – that is generated by the situation of protracted emergency. After asking whether ours is in general an age marked by (media) emergency, what are the structural char-acteristics distinguishing short-term emergency from protracted emergency and to what extent we can speak of an effectively shared collective feeling of “emer-gency”, the analysis focuses on the atmospheric properties of this collective affec-tive situation and shows what are the possible resources to (...) escape from it (at least in part). Irreducible to the classic phenomenological intentionality, the at-mosphere of protracted emergency (whose case study here is that of the COVID 19 pandemic, which is also related to the “terror from the air” theorised by Sloterdijk) proves to be a chaotic situation that establishes with those who experi-ence it a very particular felt-bodily communication, based essentially on narrow-ness and hypochondria. It is an invisible atmosphere of which it is fairly easy to identify the markers on the phenomenal level, whereas it is largely impossible to anticipate the long-term (affective, social, cognitive) effects. (shrink)

This chapter tries to make sense of a particular aspect of our contemporary experience: the so-called “post-truth era.” This era is characterized by strong polarization where it seems like the arguments and opinions of the opposing sides are informed by different realities. When beliefs are still held despite being debunked by contradicting evidence, it is easy to dismiss the opponent as “irrational,” resulting in breakdown of communication. This chapter argues that such beliefs may still feel right because they connect (...) to something deeper in the bodily awareness and lived experience, which Eugene Gendlin calls the “felt sense” or “felt meaning.” When we are disconnected from this bodily sense, it can result in various articulations which do not make sense at a surface level but critiquing the surface level articulations while ignoring their source often results in frustration and anger. Rather than dismissing people’s rationality, we should assume they have reasons for holding their beliefs, although they may not be able to articulate those reasons. Drawing on the works of Gendlin I argue for a sympathetic yet critical listening to the bodily sense which requires attention to the whole situation of our social environment. (shrink)

The article investigates the rhetorical means of mediating affective experience in occasioned storytelling. The completion of this article has been supported by The Emil Aaltonen Foundation and The Academy of Finland project (285144) The Literary in Life and The Academy of Finland project (326645) European Solidarities in Turmoil. We are interested in the forms and aspects of bodily action in signifying and communicating a “para-factual experience” that was triggered by a real-life incident, but in fact only took place in (...) a person’s imagination. We explore the case of a TV interview in which an American living in Finland narrates a personal, disturbing experience related to the news about 9/11. The story presents a visual scenario of the teller’s affective reaction towards two Muslim women in a grocery store. What is interesting in the story are its involuntary dimensions: the scenario portrays a picture of the teller that he finds unrecognizable and detached from his sense of self as a person. Even if the act was never actually realized, to the teller it felt real and compelling, as is manifest in the way he translates the scenario into a bodily performance. The teller not only uses his body to tell the story but momentarily turns the surrounding setting into a scene in the storyworld in which he plays the unidentified me. We call this physical performance of the imagined scene the embodied ekphrasis of experience. In Semiotica, the rhetorical device of ekphrasis has appeared before (see Frosh 2003; Hopkins 2015; Nesselroth 2016; Sarapik 2009) from such literary and linguistic perspectives, as well as through the lens of media research and cultural studies, to which our application will add from the viewpoint of ethnomethodology and the social sciences. Deploying research on multimodal interaction and intermediality, our empirical analysis explicates how the teller’s body, and not just words, build action, convey affective meaning, and resemiotize and mobilize a physical enactment of the past hypothetical scene. (shrink)

Phenomenology has long been one of the basic theoretical and methodological approaches in sports philosophy. Among the many varieties of philosophical phenomenology, phenomenological sports research mainly uses the approaches of Edmund Husserl, Martin Heidegger and Maurice Merleau-Ponty. Another phenomenological author who has so far remained almost completely unknown to international sports philosophy is German philosopher Hermann Schmitz (1928–2021). Schmitz named his phenomenological approach “New Phenomenology” since he had broken with some basic assumptions of ‘old’ phenomenology (e.g. neither construing his phenomenology (...) as a philosophy of consciousness nor conducting a view of the essence) and also discovered new areas of phenomena (e.g. felt body, atmospheres, expansive and directional space). Moreover, Schmitz considered his New Phenomenology to be an empirically oriented science. This article aims to introduce Schmitz’s approach into the international discussion on sports philosophy. In particular, it is shown how New Phenomenology is an enrichment for phenomenological sports research. To that end, the article outlines the basic idea and central components of New Phenomenology. The main focus rests on four concepts, whose analytical potential is illustrated using selected sports phenomena: felt-bodily experiences, (transhuman) felt-bodily communication, private and common atmospheres, as well as situations as an ontological concept and empirical phenomenon. This provides an outline of the program for a “New Phenomenology of sports”. The article advocates for its further elaboration and to that end offers theoretical, methodological and empirical suggestions. (shrink)

This book begins with the distinction between the so-called 'lived body' or 'felt body' (Leib) and the 'physical body' (Körper), tracing the conceptual history of this distinction through key figures in philosophical and social thought and articulating a theory of the lived body that draws on the New Phenomenology developed by Hermann Schmitz. An explanation of our being-in-the-world in terms of a felt-bodily communication with all perceived forms and their affective-bodily resonance in us, "Being a (...) Lived Body" integrates and critically assesses the leading theories of embodiment, while presenting a new approach to the body. It will therefore appeal to scholars of philosophy, social theory and anthropology with interests in phenomenology and embodiment. (shrink)

The boom in new theories of resonance is most certainly due to an intellectual atmosphere closely linked to the so-called “affective turn” in the humanities. The paper compares some theories of resonance or responsivity such as Thomas Fuchs’ phenomenological-psychopathological analysis of resonance and Bernhard Waldenfels’ phenomenology of responsivity with a sociological research on resonance by which Hartmut Rosa aims at contrasting the capitalist dictatorship of the growth-acceleration-innovation triad and the resulting loss of bodily resonance in the modern age, and (...) above all with Hermann Schmitz’s phenomenology idea of felt-bodily communication. My aim is to show that by providing a neophenomenological approach to atmospheric perception – viewed as an affective and pre-reflexive bodily communication triggered by a spatial feeling whose sounding board is our Leib – a pathic aesthetics can assign both a diagnostic and a therapeutic value to the concept of resonance. This furthermore means that a sociology also attentive to the bodily and pre-linguistic dimension and a phenomenology also attentive to situative and historical-collective dimensions, both being able to focus on the pathicity of everyday life, may find an unexpected but promising point of contact. (shrink)

Is there really an atmospheric turn? The concept of “atmosphere” as a qualitative-emotional prius of sensory experience seems today to have encouraged the convergence of many interdisciplinary studies focused on the qualitative aspects of our “surroundings”. Based on the neo-phenomenological theory of atmospheric perception as a first pathivc impression and a felt-bodily communication, this paper explores and synthesises the relationship between atmospheres and expressive qualities. It thus clarifies the key features of a general “pathic” aesthetics. It considers (...) perceivers as beings who are touched by atmospheric feelings in emotional and tactile ways. These are widespread and vary in their modulation of lived space. They are also ontologically rooted in things and quasi-things of the lifeworld. By realising how they (especially in an unintentional way) expose themselves to what happens, perceivers turn out not to be “subjects of something” but rather “subjects to something”: that is, human beings who are only “sovereign” when they are free, at least in their daily experience, from the dogma of rational and methodological autonomy imposed by Western Modernity. (shrink)

Xavier Le Roy’s performance Self-Unfinished is emblematic of how contemporary dance’s resistance to the submission of the body to a codified ideal body model manifests itself through the staging of bodies “beyond codes”, i.e., bodies that take surprising, sometimes even apparently “monstrous” shapes. The purpose of this article is to investigate the “monstrosity” of Self-Unfinished and to sketch out an analysis of it following Hermann Schmitz's theory of the Leib and Tonino Griffero’s account on atmospheres.

The paper examines the notion of habits from the perspective of a pathic aesthetics based on the neo-phenomenological theory of Leib (felt body) and its ubiquitous communication. By questioning whether experience should be considered as a confirmation or a failure of expectation, it shows the inextricable intertwining of the unexpected and routine in our involuntary life experience and delves into a well known phenomenological crux: is the lived or felt body what is subject to self-affection and proprioception (...) or rather the “absent” body, which is always transcended in its being-for-other (transitivity)? The assumption then that felt-bodily habits are formed through a motor scheme depending on its being a perfect pre-reflective resonance (especially thanks to its more or less stable “felt-bodily islands”) of outside atmospheric feelings and affordances that also becomes a true “style”, is finally examined by showing the points of both contact and discrepancy between a New Phenomenology (Hermann Schmitz) focused above all on the rediscovery (in a critical function) of the archaic dimension of the Leib and a melioristic Somaesthetics (Richard Shusterman) pragmatically interested in a more creative individual self-stylisation. (shrink)

Although scientists dating back to Darwin have noted the importance of the body in communicating emotion, current research on emotion communication tends to emphasize the face. In this article we review the evidence for bodily expressions of emotions—that is, the handful of emotions that are displayed and recognized from certain bodily behaviors (i.e., pride, joy, sadness, shame, embarrassment, anger, fear, and disgust). We also review the previously developed coding systems available for identifying emotions from bodily behaviors. (...) Although no extant coding system provides an exhaustive list of bodily behaviors known to communicate a panoply of emotions, our review provides the foundation for developing such a system. (shrink)

In _Aims: A Brief Metaphysics for Today_, James W. Felt turns his attention to combining elements of Thomas Aquinas's metaphysics, especially its deep ontology, with Alfred North Whitehead's process philosophy to arrive at a new possibility for metaphysics. In his distinctive style, Felt conciselypulls together the strands of epistemology, ontology, and teleology, synthesizing these elements into his own “process-enriched Thomism.” _Aims_ does not simply discuss the strengths and weaknesses of each philosopher’s position, but blends the two into a (...) cohesive argument based on principles derived from immediate experience. Felt arrives at what he calls a “Whiteheadian-type solution,” appealing to his original concept of the “essential aim” as necessary for understanding our existence in a coherent yet unique world. This concise, finely crafted discussion provides a thoroughly teleological, value-centered approach to metaphysics. _Aims_, an experiment in constructive metaphysics, is a thorough and insightful project in modern philosophy. It will appeal to philosophers and students of philosophy interested in enriching their knowledge of contemporary conceptions of metaphysics. “James Felt's _Aims: A Brief Metaphysics for Today _is an excellent book. It is engagingly written with exemplary clarity, compactness of expression, and admirable thoughtfulness. It is a work in constructive metaphysics that offers a marvelous introduction to the beginner, as well as being engaging to the advanced student. While _Aims_ shows the main influences of Aquinas and Whitehead, with Bergson and Merleau-Ponty also important, more importantly it gives expression to the singular appropriation of some of the basic metaphysical issues by James Felt himself. It develops a view of relational realism, with lucid expositions of themes such as the nature of primary being, the act of existing, freedom, participation and God, and the nature of self-knowledge. It distills the author's long reflection on these issues and communicates his considered insights with measured lucidity.” —_William Desmond, Katholieke Universiteit Leuven, Belgium _ “There is a welcome freshness and easy-access approach in this creative presentation of the central philosophical discipline, metaphysics. It starts firmly anchored in our human experience, then moves easily into deeper waters of a proposed Aquinas-Whitehead synthesis.” —_W. Norris Clarke, S.J., Fordham University_ “With modifications to both Aquinas and Whitehead and their complementary interplay, and in contrast to the priority usually given to effective or originating causality, the author argues for the interactive pre-eminence of teleology and existence in the promotion and enhancement of cosmic and interpersonal value. In so doing he seeks to restore to the transcendental Good its appropriate place and role.” —_Kenneth Schmitz, University of Toronto_. (shrink)

The functional pragmatism advocated by Nicholas Rescher derives from the conviction that we have no strict evidence for the existence of extramental reality and therefore must postulate it in order to make any sense of truth, communication, and scientific projects. This essay challenges Rescher’s starting point by arguing that the reason extramental reality cannot be argued to is because it is immediately evident. But then to claim that one must postulate it is to adopt only a second-best kind of (...) realism. (shrink)

First he shows how Thomas's conception of the act of existence is dynamic and expansive, not only present in itself as "first act," but naturally pouring over in a "second act" to give itself to others in self-expression and self-communication through action. This highlights the relational aspect of being, so that to be is to be oriented toward relations and ultimately toward community. When this notion is applied to person, the highest perfection and most intense expression of existential being, (...) the person is seen as naturally exercising expansive, self-communicating act, now raised to the order of self-consciousness and freedom. To be a person is to be with, in sharing, receiving, and loving. This relational aspect of the human person reflects the personal nature of God as revealed in the doctrine of the Trinity. "To be fully a person," he writes, "consists in living out to the full the alternating rhythm of self-possession and openness to others", and he argues that such a concept of the person sums up and completes the intrinsic thrust of Aquinas's metaphysics. (shrink)

BackgroundConcurrent with efforts to establish national and regional biorepositories in Africa is widespread endorsement of ethics committees as stewards of the interests of individual donors and their communities. To date, ethics training programs for IRB members in Botswana have focused on ethical principles and international guidelines rather than on the ethical dimensions of specific medical technologies and research methodologies. Little is known about the knowledge and concerns of current and prospective IRB members in Botswana with respect to export, reuse, storage, (...) and benefit-sharing of biospecimens.MethodsThis qualitative study examined perspectives of IRB members in Botswana about the collection and use of biospecimens in research. Forty-one IRB members representing five committees in Botswana participated in discussions groups in March 2013. Transcriptions of audiotapes and field notes were analyzed to identify issues of concern that might be alleviated through education and capacity-building, and areas that required ongoing discussion or additional regulatory guidance.ResultsAreas of concern included lack of understanding among patients and providers about the use of biospecimens in clinical care and research; reuse of biospecimens, particularly issues of consent, ownership and decision-making; export of specimens and loss of control over reuse and potential benefits; and felt need for regulatory guidance and IRB-member training. Local belief systems about bodily integrity and strong national identity in the construct of benefits may be at odds with initiatives that involve foreign biorepositories or consider such collections to be global public goods.ConclusionEducation is needed to strengthen IRB-member capacity to review and monitor protocols calling for the collection and use of biospecimens, guided by clear national policy on priority-setting, partnerships, review, and oversight. Engagement with local stakeholders is needed to harmonize fundamentally different ways of understanding the human body and community identity with the aims of contemporary biomedicine. (shrink)

Issues related to research integrity receive increasing attention in policy discourse and beyond with most universities having introduced by now courses addressing issues of good scientific practice. While communicating expectations and regulations related to good scientific practice is essential, criticism has been raised that integrity courses do not sufficiently address discipline and career-stage specific dimensions, and often do not open up spaces for in-depth engagement. In this article, we present the card-based engagement method RESPONSE_ABILITY, which aims at supporting researchers in (...) developing their ability to respond to challenges of good scientific practice. The method acknowledges that what counts and what does not count as acceptable practice may not be as clear-cut as imagined and that research environments matter when it comes to integrity issues. Using four sets of cards as stimulus material, participants are invited to reflect individually and collectively about questions of research integrity from different perspectives. This approach is meant to train them to negotiate in which contexts certain practices can still be regarded as acceptable and where possible transgressions might begin. RESPONSE_ABILITY can be seen as fostering the creation of an integrity culture as it invites a more reflexive engagement with ideals and realities of good practice and opens a space to address underlying value conflicts researchers may be confronted with. Concluding the article, we call for caution that addressing issues of integrity meaningfully requires striking a delicate balance between raising researchers’ awareness of individual responsibilities and creating institutional environments that allow them to be response-able. (shrink)

The central idea is that, since we have no substantial evidence for arguing from personal experience to a mind-independent reality, we must yet suppose such a reality if we are to pursue science or even to engage in interpersonal communication. Hence we quite reasonably assume or postulate such a reality. Such an assumption is not only rational, since it is the best we can do, it is retrojustified by its evident success. It enables us to communicate; it enables us (...) to pursue science; it accounts for our occasional errors in existential judgments, inasmuch as it posits a much richer reality than we can ever hope adequately to comprehend or describe in language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.4 (2001) 323-326 [Access article in PDF] The Tacit Dimension Thomas Fuchs Thirty years after its appearance, Blankenburg's "Psychopathology of common sense" has not lost its relevance. In my commentary I will try to illustrate the fruitfulness of his approach by pointing to some connections with the phenomenology of the body as well as with recent memory and infant research.As Blankenburg himself indicates, the notion (...) of common sense developed by a shift of meaning from the classical sensus communis and thus has its original basis in the sensual-bodily experience. By the koinè aísthesis, Aristoteles meant a central sense organ integrating all single modalities of sensation (which he localized in the heart). In German physiology and psychiatry of the nineteenth century, the sensus communis was still translated as "Gemeingefühl" ("common feeling") or "cenesthesia" (Fuchs 1995). This term denoted the inner, proprioceptive bodily sensations, but also an original unity of the senses, which has been rediscovered by recent infant research as intermodal sensory perception. The affection of the body was thus regarded as the common basis of all sensation.Looking on this track for a bodily basis of the common sense, we find it in the habitual structure of the lived-body as analysed by Merleau-Ponty (1945). The body is the primary "matter-of-course," namely, the tacitly functioning medium of our everyday being-in-the-world prior to any subject-object split. The body schema, in Merleau-Ponty's view, is not only a system of familiar units of movement or "kinetic melodies," it also incorporates the surrounding things, tools, and spaces that are familiar to us and that we "inhabit." Thus, the musician "does not only manipulate the instrument like a separate object, but lives in it like a limb and inhabits the expressive musical space it opens" (Behnke 1997). But for Merleau-Ponty, the body schema is also the basis of "intercorporeity," i.e., a prepersonal sphere of reciprocal comportment and understanding prior to any explicit consensus and symbolic communication. In this sphere of elementary contact, the "atmospheric" senses play a major role: The sense of smell (as shown, e.g., by the expression "to scent treason" or in German, "jemand nicht riechen können" [not be able to "smell" or stand someone]) as well as the sense of taste whose ambiguous meaning, mentioned by Blankenburg, points to the bodily basis of the feeling for what is suitable, decent, or aesthetically pleasing. Even the designation of homo sapiens that we give to ourselves is derived from the latin sapere (to taste/to know), and thus shows that the knowledge characteristic for man is not an explicit one, but an intuitive, implicit knowing or "feel" for his surroundings, or as Kant says, an "aesthetic rather than intellectual judgment" (cited by Blankenburg).Polanyi (1967) has analysed this knowledge at the roots of common sense as "tacit knowledge." It is based on processes of Gestalt formation that enable us to grasp unified wholes through their constituting elements without still being aware of the latter. Thus, we understand the facial expression of others immediately but cannot tell from which details. Or we know how [End Page 323] to waltz without knowing the single movements or being able to explain it. Tacit knowledge implies all the taken-for-granted that we have forgotten once it has become our second nature and part of our bodily habits. It is mainly based on the neuronal coupling of single sensori-motor units by repeated perception or action. This unconscious knowing has only recently come to be explored by psychology under the heading of "implicit" or "procedural memory" (Schacter 1987, 1996). It contains familiar styles or "melodies" of moving, perceiving, and being-with-others in which our whole bodily and emotional experience is engaged. There is an atmospheric, "felt" quality about them that cannot be analysed into single elements. Implicit knowledge may, therefore, never be wholly expressed by words—it is only realized in the concrete situation. It may only be circumscribed by expressions such as "how it feels...," "how it is...," e.g., how it is... (shrink)

The paper defends a version of the perceptual account of bodily feelings, according to which having a feeling is feeling something about one’s body. But it rejects the idea, familiar in the work of William James, that what one feels when one has a feeling is something biological about one’s body. Instead it argues that to have a bodily feeling is to feel an apparent bodily indication of something – a bodily appearance. Being aware of what (...) one’s body is apparently indicating to one is being aware of something about one’s body, but the focus of attention is on what is apparently being indicated, which is not something about one’s body. This is one way of making sense of the idea in contemporary phenomenology that the body is conspicuous in feelings that do not take the body as an object of awareness. Bodily inclinations are apparent indications of what one is going to do, and it is argued that feeling one’s bodily inclinations constitutes an important class of bodily feelings – e.g. feeling like crying or feeling like being sick. Such inclinations are often felt through a process of resisting them. Bodily inclinations also have some intentionality, albeit quite limited, and this goes some way towards explaining Peter Goldie’s concept of feelings towards. (shrink)

The critical aspects of deep brain stimulation are usually the focus of the ethical debate about the implantation of electrodes into the brain of patients with Parkinson’s disease. Above all, potential postoperative side effects on personality caused by DBS mark the debate. However, rehabilitation of agility and mobility by DBS can be posited against critical aspects. Therefore, the purpose of this article is to emphasize the hitherto neglected positive aspects of that technology. A detailed study of the rehabilitation of controlled (...) movements will thus be the object of this article. The possibility to move again in a controlled way will be discussed as freedom of movement. The concept freedom of movement is being linked to the observation of feelings of euphoria and joy that can occur after surgery for patients with PD stimulated in the subthalamic nucleus. This is done based on phenomenological analysis and qualitative interviews, in which the relation between freedom of movement and feelings of joy becomes clear. The aim here is to show that these feelings of exaltation express an essential feeling of freedom – a bodily felt freedom – which is grounded in movement and can be regained by STN-DBS. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sigewiza’s CureJennifer H. Radden (bio)Keywordsbiopsychosocial model, Hildegard of Bingen, associationist presuppositions, causation, power of suggestionSuzanne Phillips and Monique Boivin provide us with a sympathetic and compelling account of how the various elements of Hildegard’s sophisticated amalgam of ritual, magic, religion, dietary and other medical remedies, caring, and community, formed a seamless cure for Sigewiza’s affliction. Whether Hildgard’s approach reflects an early instance of the biopsychosocial “model” is a separate (...) claim, and may be challenged. But that her ministrations somehow effected a cure in this case seems—if not without a doubt, then very likely.Descriptions of Sigewiza’s condition, with its “clumping together of blackness and steam” caused by a “constellation of humors,” echo those of other medieval writers speaking of the humoral disorder of melancholia—at that time an encompassing category for a range of symptoms and syndromes that would today be assigned as different mental disorders. In these descriptions a variety of explanations for mental illness are quite typically introduced, including biological, social, supernatural, dietary and astrological ones. Phillips and Boivin take care to point out that Hildegard was not offering her remedies as alternatives, but rather proposing them as at work jointly and in a range of causal directions, exhibiting mutual influence, and feedback loops. As these authors say, multiple explanations “were often held simultaneously... in reference to a specific case” (Phillips and Boivin 2007, XX). And the factors that might cause the system to move out of balance are many: food, emotions, the soul, the mind, actions, and spiritual forces. So although deeds may cause bodily changes and their psychological accompaniments, “problems in the diet might affect the humors which would then have psychological effects, which demons might... use as opportunities to cause further trouble in the spirit, mind, and body” (Phillips and Boivin 2007, 365).What first struck me about Hildegard’s description of these many distinct causes interacting in complex ways is its compatibility with the multi-causal accounts of depression (and other mental disorder) frequently proffered in our own time. Daily habits (e.g., diet, sleep and exercise regimes), genetic predispositions, including biological states of fragility, external events, experiences of loss, social roles, and cultural beliefs—not to mention spontaneous recovery, and placebo effects—are all regularly implicated in the onset and course of conditions such as depression.Still, the similarity to these modern causal accounts may be somewhat misleading and we must beware of overstating it. In favoring and pressing on Hildegard’s holistic understanding, moreover, Phillips and Boivin perhaps insufficiently emphasize significant dissimilarities between Hildegard’s and our contemporary accounts.It is the interaction between the various elements making up Sigewiza’s cure that is most noteworthy [End Page 373] in this account, as Phillips and Boivin recognize. Yet that relationship itself seems in some ways surprisingly problematic: difficult for us to make sense of, and profoundly unmodern. Granted, we think we see the way these approaches probably influenced how Sigewiza felt and responded; but it is not so clear how Hildegard saw things. Like a lot of thinking in medieval times, Hildegard’s account provides us with glimpses of an understanding of the world that today looks prescientific and in that respect, almost precausal. (So, to the extent that the biopsychosocial model is understood as a causal one, the case of Sigewiza may exemplify it only inexactly.)It is not merely the range and type of causes, including supernatural and astrological ones, in accounts such as Hildegard’s that distinguish it from today’s analyses. It is also the reliance of such accounts on what seems to be a different metaphysics, one of associations or qualities.Associationist presuppositions can be found in accounts of health and illness from before, during, and long after, Hildegard’s time. Three examples of this pervasive, but puzzling thinking serve to illustrate. The melancholiac’s perceived swarthiness and darkened skin color—regularly noted from the time of the Greek physicians and an established part of the medieval iconography in images of melancholy—were not, or not primarily, thought to be a causal result of the darkness of his bile, as one might suppose. Instead, this coloring seems... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Freedom to BreatheJan Söffner (bio)It almost goes without saying: During the current pandemic, breathing lost its mere subliminal existence as an automated subsystem of our conscious existence and gained an oppressive presence. It did so in medical terms, in the spread of a virus attacking the respiratory system. It did so in terms of the lockdowns that virtualized much of our physical existence, cutting breath off from being (...) part of the communal atmosphere we dwell in. It did so in terms of the fear of taking in the contaminated breath of others, or of letting others inhale our own viruses. It did so by forcing us to wear face masks that simultaneously protected and obstructed our breath, and made us constantly smell our own bad breath. It did so by means of a fear, and regulation-induced deformation of our embodied interaction–which forced us to avoid each other rather than share our embodied lives. Breathing emerged into consciousness in a way that problematized the permeability of our breathing bodies, promoting instead an increasingly monadic existence reducing that permeability–an existence allowing only for an extremely mediated partaking in the world and interacting with others, as if (or indeed) talking to images on a computer screen.This change to our everyday breathing activity, as I will argue, profoundly altered the "metaphor we live by" that breathing is: If the emotional and enacted feeling of being a breathing body is altered, and if the habits of breathing change, then the ways we organize and understand our lives using breathing as a metaphor will lead to different meanings. And these meanings can be centered around a new feel of longing for freedom–a feel by means of which the concept of freedom is changed as well.A bitter example is the now worldwide awareness, and, as I will argue, altered understanding of the rallying cry, "I can't breathe." Originating from the 2014 police murder of Eric Garner, these had also been George Floyd's last words, uttered while being suffocated by police officers in 2020. The agony condensed in these words provided for an even more powerful metaphor to be adapted by the Black American community and beyond: people who had not literally been suffocated, but for whom the phrase spoke on their systemic historical oppression. [End Page 145] "I can't breathe" became a metaphor upon which a continuing legacy of repressions was projected.Yet, the term "metaphor," as precise as it is, can be misleading, because it seems to suggest this act of generalizing the lack of breath to be an act of mere comparison: People who are suppressed and metaphorically lack the air to breathe would then simply compare their lives to the suffocation of George Floyd; the similarity between their suppression and his would then be brought down to an "as if," wherein Black communities would simply feel as if they were suffocated (while what their 'suffocation' really means would remain an open point). However, things are not that simple: Adopting the words "I can't breathe" as a "metaphor we live by" does not only turn George Floyd's last words into an iconic comparison; it also evokes and suggests suffocation as a "feeling of being," as an experiencing of one's own existence. "Metaphors we live by" (Lakoff and Johnson) reside on subliminal bodily re-enaction and embodied empathy, enabling us to experience a feeling of suffocation which–as a feeling–is as real as the coldness of anxiety (as Louise Bourgeois would have it [see Klemm et al. 321]) or the warmth of social inclusion. This experience of felt suffocation, in turn, helps us talk and think about the state of subaltern existence, by replacing the question of whether the subaltern can speak (per Gayatri Chakravorty Spivak [1988]) with the question of whether they can breathe. Doing so aids in expressing indignation, and provides conceptual and iconic clarity. The clarity and precision of such metaphors is not about concepts, but about existential feelings. And in order to provide for this particular precision, these metaphors do not only rely on acts of comparison; much more than this, they rely on acts... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ethnography as Christian Theology and Ethics ed. by Christian Scharen and Anna Marie VigenJohn KiessEthnography as Christian Theology and Ethics Edited by Christian Scharen and Anna Marie Vigen New York: Continuum, 2011. 304 pp. $29.95Over the past decade, an increasing number of Christian theologians and ethicists have turned to ethnographic methodologies in order to attend more closely to the complexities of lived faith and the bodily character (...) of theological knowledge. For those wishing to get a glimpse of what this looks like in practice, what its implications might be for theology and ethics, and how one might set off and do it oneself, this book is an excellent introduction.Editors Christian Scharen and Aana Marie Vigen organize the book into three parts. The first part orients readers to the use of ethnography in cultural anthropology and reviews the recent “ethnographic turn” in Christian theology and ethics. This is followed by a brief survey of theological critiques of social science and a defense of ethnography against these critiques. Scharen and Vigen argue that the use of ethnography, far from compromising the integrity of theology, has the potential to renew and enrich the discipline through the incorporation of long-overlooked forms of local wisdom. As a method attuned to practical, often noncognitive forms of knowledge, ethnography can help scholars move away from an exclusive focus on texts to a deeper consideration of the theological and ethical claims “embedded and embodied” in the lives and practices of everyday communities (xxii). [End Page 190]Naturally, the best argument for such an approach is exemplification. The second part of the book presents an impressive collection of ethnographic work from contexts as diverse as Chicago, Atlanta, Oregon, Chiapas, Nairobi, and Gulu. Contributors employ ethnography to compare pastoral leadership in two African American churches, track grassroots dissent on the issue of contraception among women living with HIV/AIDS, and reimagine the debate on physician-assisted suicide from the perspective of the poor and disabled. Particularly effective are Vicini’s exploration of the liturgical response of local churches to the legacy of violence in Chiapas and Whitmore’s critical examination of his own place as a white researcher in Northern Uganda, which makes hauntingly transparent the ethical complexities of the research process itself.The final part of the book offers a more practical how-to guide for those looking to do ethnography, covering such issues as institutional review board approval, interview methodology, and accountability to research subjects. This part, like the rest of the book, will be a gift for graduate students facing down a dissertation proposal or scholars contemplating the use of ethnography in their work. Admirably reflexive, vigilantly attentive to issues of power and privilege, and articulate about the ways that research can be a form of discipleship, one can only hope this book will succeed in its aim of encouraging other scholars to “go and do likewise.”Those who have already incorporated ethnographic techniques in their scholarship or who are looking for a fuller articulation of the relation between ethnography, ethics, and theology may find themselves less satisfied with the book. Its treatment of existing options (virtue ethics, Catholic social ethics) and thinkers (David Ford, Stanley Hauerwas, and John Milbank) is thin, and a number of key figures in the broader story of the ethnographic turn in theology (Karl Barth, Dietrich Bonhoeffer, and Hans Frei) are conspicuously missing. Their absence is felt particularly strongly in the unanswered questions the volume provokes, including how to account for God’s difference when appeals to experience become primary (Barth), and how to avoid positivism when appeals to the “reality” of the church become the point of departure for ecclesiology (Bonhoeffer).Such provocations, however, are reminders that we are still at the very early stages of the ethnographic turn in Christian theology and ethics. If this volume is any indication, the future of this exciting intersection of thought and practice looks very promising indeed. [End Page 191]John KiessLoyola University MarylandCopyright © 2013 Society of Christian Ethics... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 89-93 [Access article in PDF] Richard Shusterman, Performing Live: Aesthetic Alternatives for the Ends of Art (New York: Cornell University Press, 2000) Performing Live can be ascribed to post-modern American pragmatism in its widest expression. The author's intention is to revalue aesthetic experience, as well as to expand its realm to the extent where such experience also encompasses areas alien to traditional (...) aesthetics (for example, popular art or the somatic arts of self-improvement), reaching "the art of living" and reclaiming life itself as performance.After the introduction, titled "Aesthetic Renewal for the Ends of Art: An Overture," the text is organized in two main parts: "Aesthetic Experience and Popular Art" and "Soma, Self, and Society." Along with its ambitious title, the book's organization and structure promise a consistency of approach and narrative that somewhat dissolves during the reading. Shusterman recognizes that the stylistic problems that arise from a compilation of articles spanning ten years, mixing newly written and revised articles, but appeals to the reader's appreciation of the "quality of the mix" (11). Despite this feature, he is a lucid and thoughtful communicator and his writing style is excellent.In order to propose new or revitalized alternatives for the ends of art, Shusterman [End Page 89] explores the crisis in traditional visions of art, pointing to the compartmentalization and lack of credibility in current artistic thought and practice. Hegel, Walter Benjamin, Gianni Vattimo, and Arthur Danto provide him with the philosophical arguments accounting for the modern "exhaustion" of art. He supports a dialectical approach, both naturalistic and historicist, and builds a solid case for the possibility of alternatives in aesthetic thought and experience. He proposes two alternatives in his introduction: The two most prominent sites for today's aesthetic alternatives are clearly the mass-media popular arts and the complex cluster of disciplines devoted to bodily beauty and the art of living as expressed in today's preoccupation with aesthetic lifestyles. (7) It is unclear why these alternatives are "clearly" "the two most prominent." The author does not build a case for this assumption or for the "newness" of these alternatives. The "compilation style" mentioned above and this lack of justification for one of the most original elements in the book make this text often read as a philosophical drafting board. Keeping these characteristics in mind and also critically pondering the degrees of success in the enterprise, the reader must give Shusterman credit for taking risks while suggesting concrete examples for an experiential, holistic philosophy. In this sense, he mentions (in a different context) that "all of us [are caught] between conceptual history and futuristic speculation" (145), and he takes to heart this situation and its challenges.The first chapter in Performing Live aims to redeem or revalue the concept of aesthetic experience. For Shusterman, the loss of "felt experience" in art makes the interest in this concept utterly relevant for art's survival. He traces the lineage of this aesthetic philosophy to John Dewey, Monroe Beardsley, Nelson Goodman, and Arthur Danto. Besides focusing on these authors, his analysis revisits some of the main currents of thought in Western philosophy on the topic (for example, Plato, Hume, Kant, Dickie, Adorno, Benjamin, Gadamer). He concludes that a pragmatic approach to aesthetics, applying the concept of aesthetic experience directionally (as a means towards the actual experience rather than as a definable concept), can provide new paths for revitalizing art. Throughout the text this concept is also used expansively. The post-modern justification of the proposed aesthetics, by allowing the extension of aesthetic experience to embrace "the art of living," can leave the reader wondering if Shusterman has not simply turned Kierkegaard's existentialist stages to self-realization upside down.The second chapter is an open defense of popular art, carried out by contesting the main complaints found in current art criticism. Shusterman's defense is not directed to the products of popular art, but against the claim that popular art is aesthetically "worthless." His definition of "popular art... (shrink)

Diverse leadership in information and communication technology can be defined as an approach to empower digital innovation. Digital innovation is a key driver of digital and business transformation. This process demands human transformation to complement business transformation in order to achieve long term sustainability. Changing the culture, fostering an inclusive mindset and guaranteeing diversity are challenging yet foundational elements in building a legacy and require inclusive digital ethics leadership. Our society needs to undergo disruptive and transformative changes in order (...) to adapt to exponential technological advances in the educational, professional, cultural and governance fields. The digital era holds great potential for increased inclusion, reduction or even closure of the „Gender Leadership Gap “in all industries, especially in the Construction and IT industry, Research and Development sectors, as well as in Academia where women are still underrepresented. This article analyzes how diverse leadership in ICT is a moral imperative for our society, emphasizes the need to recalibrate and reshape our approach and highlights the benefits of leveraging women’s potential in the social, digital and business transformation arenas. This article aims to fill an ‘ethical vacuum’ brought to light by the emerging technologies` revolution, focuses on both ethical and data governance aspects in digital innovation and offers approaches to answer how diverse leadership can contribute towards avoiding gender bias, optimizing inclusion and further improve crucial digital ethics aspects in data-driven technologies - such as algorithmic bias, fairness, transparency in AI. (shrink)

Publishers love titles that begin How or Why. Better still, How and Why, combining edification with utility. The target group is that overlap between the self-help audience and the idly curious—which is to say, most of us. And since emotions are very much about self-help and self-harm, they offer rich pickings in a burgeoning market. Flanagan's How to Do things with Emotions is a philosopher's take on moral emotions, the allusion to J. L. Austin's How to Do Things with Words (...) chiming with the self-help milieu. Reviewing cases, Flanagan points out that most scientific work in this field derives from experiments on psychology students, about as unrepresentative a slice of humanity as you could find. For Flanagan, they are too WEIRD (Western, Educated, Industrialized, Rich, Democratic) to tell us much about the non-weird majority. To learn to “do emotions better,” he argues, we have to look farther afield. Although the emotional lives of cultural others are surely different from those taking Psychology 101, at some functional level they might be similar. Work out the conceptual logic and practical rationale of culturally elaborated emotions—Minangkabau “shame,” Ifaluk “righteous anger,” American “road rage”—and there is scope for comparison. Indeed, anthropology has shown as much, and it is from anthropology that Flanagan takes his cues. To mention two famous cases, what can we learn about anger management from Utku igloo-dwellers and Ilongot headhunters? Mutually dependent for survival in their snowy isolation, the Utku cannot risk getting angry. (They mercilessly tease their children into learning the futility of anger.) In the jungles of Luzon, Ilongot youths cast away their anger in externally directed violence: headhunting as cathartic sport. We can think of parallels closer to home.Flanagan's vigorously argued book, a tour de force of its kind, is both an anatomizing of anger and shame—two moral emotions we tend to “do badly”—and a proposal to “change how we do these emotions.” Indignation is fine, but anger that is vengeful or “pain-passing,” rather than righteous, is irrational and socially harmful. Shame can be incapacitating and cruel (the undeserved burn of a Twitter pile-on). What we need is reflective anger directed at injustice and a “mature sense of shame” that reminds us of the social contract and stops us misbehaving.In its How-and-Why format, the book combines theory and practice, metaethics with moralism. Here is how a prof should do self-help. But if the diagnosis is well made, the remedy is hard to imagine. As Flanagan recognizes, moral sentiments and practices are embedded in intricate forms of life and not readily detachable. Anger Utku-style is not a transferable skill, nor are educative routines forged in social ecologies remote from our own. Lacking serviceable models, Flanagan falls back on the anthropological justification that knowledge of cultural diversity expands our sense of human possibility, of other roads taken. In a globalizing world, difference is its own reward. For me, an anthropologist, that maxim is enough. Yet difference bedevils comparison, jinxing the units, warping criteria. Most languages lack a word for emotion or an equivalent umbrella concept; nor do emotion words translate well across languages. Emotion may be an incoherent notion, or at best a heuristic.Flanagan's use of the WEIRD tag makes things a bit too easy. Does it cover farmhands and factory workers? Are we so democratic, anyway? More damagingly, a typological approach blurs the circumstances of family, community, and biography that define an emotional episode and shape its phenomenology, the way it is felt and experienced—what a violent outburst or fearful exit means in the context of a life. Take Joseph Conrad's Lord Jim, who flees a scene of failure and derails his life. It requires a long narrative to unravel the implications of his jumping ship and the paralyzing shame he experiences before the judgment of society. Or consider the scene in Anna Karenina in which the dignified and self-important Karenin, apprised of Anna's adulterous liaison, agonizes over the threat to his existence. To call his response jealousy would not scratch the surface. Characteristically for Tolstoy, the emotions go unnamed. Instead, we witness Karenin's fervid deliberations (emotions involve thoughts), vacillations (emotions have action tendencies), anguished calculations of impending scandal (emotions are appraisals), and bodily changes (emotions are cognized feelings). We shudder at the brutal metaphors through which he grasps his predicament and its cure: like rooting out a bad tooth, he decides. That welter of particularities escapes the theorist who needs clear-cut, comparable units, formulaic instances of jealousy or anger. But what are you left with if you omit the details? What would remain of Karenin's existential crisis?The novelist's privileged access to subjectivity is, of course, unavailable to the scientist, but the larger context of plot and character—a history of relations that gives emotional episodes their shape and power—has its analog in the ethnographic domain. Emotions are public as well as private events, their meanings and effects depending on a fit with social reality, a clash of perspectives. In thought and feeling, we are never really alone. All of which suggests that narrative, fictional or nonfictional, can capture the ongoing moment in a way that eludes other methods. If what we are after is living emotion, it is the movie, not the snapshot, that surely matters. No point in comparing “emotions” no one ever really experienced outside of an experiment.But there's the rub. In generalization—the goal of emotion theory—an emotion's social meaning, personal significance, pragmatic function, and narrative context get stripped out. All that makes it what it is! Even in doggedly empirical anthropology, detailed emotional episodes are rare (Jean Briggs's Utku ethnography Never in Anger, published in 1970, is still unsurpassed). Instead we get recollections and summary examples, lacking the constitutive detail, real-time evolutions, and consequences of the real thing. Yet these must serve for comparison, fodder for countless theoretical speculations. Are we at risk of analyzing faux emotions and building theories on cardboard constructions?An empty Arctic stage, a handful of characters, life simplified to survival: Briggs is a hard act to follow. Bare life does not make for basic emotions. On the white set, emotions prove hard to parse. That gruff hesitation, that flashing glint—are they tokens of anger? Empathy will not suffice. As Briggs shows, narrative context is all. And in our more cluttered emotional worlds, the value of backstory, interwoven biographies, and emotional plots is all the greater. Flanagan is right; we must do emotions better. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 26-32 [Access article in PDF] A Sense of Reality In the current highly information-oriented society, electronic media have entered into our daily lives ever so naturally, even unnoticeably, yet their great influence on us is beyond measure. In addition to the many ways that information surrounds us in our everyday lives, we are also exposed to information from outer space via television; (...) computer networks; the surveillance satellite, Landsat; and the weather satellite, Himawari. The means ofunderstanding the "world" no longer come through our own bodies or through immediate involvement with phenomena. Instead, our experience via technologies of information is now mainly indirect. The changes in the [End Page 26] structure of experience have effectuated diverse influences on people, raising problems both within individuals and in society.This essay was written as an introduction to the exhibition "A Sense of Reality," held at the Utsunomiya Museum of Art in the summer of 1999. The purpose of this exhibition was to question the new relationship betweenmedia art and today's society, and the relationship between electronic media and human beings.For this exhibition, based on "sense" and "language," our objective was to examine the transformation of our bodily sensations and the state of "the self," including the changing relations between the two and in the present computerized society. The exhibition has been constructed to have the viewers interact directly with the exhibited works. The works by four artists and two groups cover a wide range of expression, from an installation using a video projector, to digital prints of a virtual space using a computer. Body Absorbed into Media "Lovers," a collaboration by Teiji Furuhashi and Artlab, was first exhibited in 1994 at Hillside Plaza in Tokyo, and has since traveled to various countries. This work can be seen as a work depicting the present state of "information" and "body" with the strongest determination, while also superbly revealing the present-day problems in relation to these. When the viewers entered the virtual space constructed by the electronic media, their living bodies were projected as images. Through intertwining and assimilating sensations both through and about the body, the feeling of merging into an imaginary world at some point creates a sense of bodily unification.This world, originated as a vessel for the "mother of electronics," thatblessed us with "eternal love," was the last device created by Teiji Furuhashi, who had a premonition of his own death. Except for the floor, which was made of white linoleum, the dark space was covered with a black cloth, ten meters in length and width, and six meters in height. A tower-shaped object was installed in the center of the floor. On the tower were video and slide projectors with sensors, which continuously showed the images of nine women and men on the walls and ceiling. The viewers encountered the life-size images that appeared from nowhere, and were compelled to interact with these images. The incidents that took place inside the dark, rectangular space enabled the viewers to actualize various encounters and partings with the images of naked bodies.Though the viewers felt as if they were dreaming or hallucinating, they had an uncanny sensation that the memory of this experience would become manifest deep inside their bodies. "Lovers" was an extraordinary interactive work that fully utilized electronic media, but was uncommon in that the technology was hardly noticeable. This work signified the future state of "the body and media," or "the body absorbed into media." The [End Page 27] work also urged us to recreate a humanistic relationship with the electronic media. Neutral Mind-Body Today, we are surrounded by a variety of electronic media, most of which are beyond the world of art. Many have already become essential devices in our daily lives. The widespread proliferation of electronic media such as video products, CDs, mobile phones, and devices which use information from satellites, have brought about convenient changes in our living environment and in communication. Real-time information, bi-directional information, and other electronic networks circle the globe.Electronic media have... (shrink)

Tiffany was seventeen when injury to her brain stem put her in the intensive care unit on life‐sustaining treatment and in a permanently locked‐in state—fully conscious but able to control no bodily movements other than her eye movements. As a clinical ethicist at the hospital, I was consulted by her neurologist, who had established a blink‐once‐for‐yes, twice‐for‐no system of communication so that Tiffany could respond to questions. Her mother wanted Tiffany to continue receiving treatment that could prolong her (...) life for years, potentially decades. In a meeting with the neurologist and family, I felt like suggesting what nobody seemed willing to suggest: that we should ask Tiffany what she wants. (shrink)

The paper aims to define the concept of “felt sense”, introduced in psychology and psychotherapy by E. T. Gendlin, in order to clarify its relation to bodily sensations and its difference from emotions. Gendlin’s own definition, according to which the felt sense is a conceptually vague bodily feeling with implicit meaning, is too general for this task. Gendlin’s definition is specified by pointing out, first, the different layers of awareness of bodily feelings and, second, the (...) difference between bodily readiness for action and motivation for action. According to the more precise definition, the felt sense is the awareness of readiness to act carried by the configuration of bodily sensations. The felt sense differs from emotions because it is not able to motivate the action for which it makes us ready. The article also discusses the intuition that led to the founding of Gendlin’s psychotherapeutic technique and compares it with the psychoanalytic concept of working through resistance during therapy. (shrink)

This paper argues for the importance of a passive form of embodiment for educational purposes to capture tacit environmental influences. G. Buck’s account of learning as experience is put in discussion with psychological approaches to reveal the limitation of what psychology can achieve, especially when it comes to situated experiences within educational environments. As a solution to overcome this problem a concept of passive embodiment is developed that allows for a body that is receptive to multisensory environmental influences. Böhme’s concept (...) of atmospheres in relation to Schmitz’ New Phenomenology provide a theoretical framework to understand how these situated experiences are evoked by certain situations. This allows for a new understanding of passive, embodied experiences within educational environments by incorporating the tacit influences of the setting. (shrink)

In the 4th and 5th centuries B.C. the most significant paradigm change in Western intellectual culture occurred, later affecting Christianity and subsequently science. In the interest of personal empowerment over spontaneous stirrings, a private inner sphere, a so-called soul was ascribed to every conscious subject which was taken to contain their whole experience, like a house, conceived of as an inner world in which reason was to be the master of spontaneous impulses; the empirical external world between these inner spheres (...) was cleansed of all gripping forces and, for this purpose, ground down to a few elegantly selected types of features and their carriers : the remainder of this grindingdown was deposited in the souls or overlooked to nonetheless be found in the souls in changed form. Man was dissected into body and soul. In the transposition into the soul’s huge amounts of life experience were forgotten. Among them can be counted the felt body which disappeared between body and soul as in a crevasse, even though it is the closest thing to human experience. (shrink)

While the current discussion on embodied cognition provides valuable accounts of an agent’s bodily sensitivity to instrumental possibilities, in this paper I investigate felt demands as the bodily-affective dimension of the agent’s recognition of deontic powers such as obligations. I argue that there is a close kinship between felt demands and affordances in the stricter sense. I will suggest that what is unique about felt demands on an experiential level is that they involve an evaluative (...) perspective arising from acute or anticipated shame-like feelings. The conclusion is that the recognition of deontic power is also a matter of bodily sensitivity. (shrink)

We argue that the main objections against two central tenets of a Jamesian account of the emotions, i.e. that (1) different types of emotions are associated with specific types of bodily feelings (Specificity), and that (2) emotions are constituted by patterns of bodily feeling (Constitution), do not succeed. In the first part, we argue that several reasons adduced against Specifity, including one inspired by Schachter and Singer’s work, are unconvincing. In the second part, we argue that Constitution, too, (...) can withstand most of the objections raised against it, including the objection that bodily feelings cannot account for the outward-looking and evaluative nature of emotions. In both sections, we argue that the kinds of felt bodily changes posited by a Jamesian account of emotions are best understood in terms of felt states of action-readiness. (shrink)

The issue of trust has increasingly attracted attention in the business ethics literature. Our aim is to contribute further to this literature by examining how the use of the carbon copy function in email communication influences felt trust. We develop the argument that the use of cc enhances transparency—representing an important characteristic of workplace ethics—and hence promotes trust. We further argue that a downside of the cc option may be that it can also be experienced as a control (...) mechanism, which may therefore negatively affect trust. The results of our first study showed that the use of cc indeed enhances perceived transparency, but at the same time also leads to the experience of increased control. Building upon this insight, the findings of five subsequent studies consistently revealed that the use of cc negatively influences felt trust. More precisely, employees felt trusted the least when the supervisor was always included in cc. This effect on felt trust also negatively influenced how trustworthy the organizational climate was perceived. We further replicated these results in two field surveys, which showed that the negative effect of cc on felt trust lowered perceptions of psychological safety and contributed to a culture of fear. Taken together, our findings suggest that when transparency in email communications is experienced as a control mechanism, its use is perceived as unethical, rather than as ethical. Implications and recommendations for future business ethics research are discussed. (shrink)

This paper provides an assessment of the bodily-attitudinal theory of emotions, according to which emotions are felt bodily attitudes of action readiness. After providing a reconstruction of the view and clarifying its central commitments two objections are considered. An alternative object side interpretation of felt action readiness is then provided, which undermines the motivation for the bodily-attitudinal theory and creates problems for its claims concerning the content of emotional experience. The conclusion is that while the (...) bodily-attitudinal theory marks out a distinctive proposal concerning the question of what emotions are, there remain significant issues which need addressing if it is to be a plausible competitor to existing theories of emotion. (shrink)

In certain startling neurological and psychiatric conditions, what is ordinarily most intimate and familiar to us—our own body—can feel alien. For instance, in cases of somatoparaphrenia subjects misattribute their body parts to others, while in cases of depersonalization subjects feel estranged from their bodies. These ownership disorders thus appear to consist in a loss of any feeling of bodily ownership, the felt sense we have of our bodies as our own. Against this interpretation of ownership disorders, I defend (...) Sufficiency, the thesis that every experience of bodily awareness suffices for a feeling of bodily ownership. Since Sufficiency conflicts with a face‐value interpretation of these ownership disorders, the burden is on me to explain away the apparent tension. To do so, I identify and correct what I believe to be the fundamental mistake in the extant literature on the feeling of bodily ownership, namely the tendency to treat the notion of a feeling of bodily ownership as a single psychological construct. Instead, I distinguish the feeling of minimal ownership, the first‐personal character of bodily awareness, from the feeling of affective ownership, the distinctive type of felt concern we have for our bodies. I motivate this distinction by raising the disownership puzzle, the fact that subjects suffering from ownership disorders display an ambiguous set of symptoms, arguing the distinction I draw between minimal and affective ownership is just what is required to resolve the puzzle. (shrink)

The relevance of inner speech for human psychology, especially for higher-order cognitive functions, is widely recognized. However, the study of the phenomenology of inner speech, that is, what it is like for a subject to experience internally speaking his/her voice, has received much less attention. This study explores the subjective experience of inner speech through empathy for pain paradigm. To this end, an experimental phenomenological method was implemented. Sixteen healthy subjects were exposed to videos of sportswomen/sportsmen having physical accidents practicing (...) extreme sports. Immediately after the exposure to the stimuli, a phenomenological interview was conducted to gather data about bodily sensations, emotions, motivations, and inner speech of watching other people’s accidents. Participant’s inner speech expresses concern about the consequences the accident could generate to the sportswomen/sportsmen or about the participants themselves. Simultaneously, participants’ inner speech happened with negative emotional feelings, many sensations distributed throughout their bodies, and a felt knowledge coming from a meaningful but pre-reflective and pre-verbal bodily dimension. Our findings show that inner speech in empathy is not merely a psycholinguistic process or high-order cognitive function, but rather it is a complex experience that occurs deeply related to meaningful emotions, bodily sensations, and an implicit, somatically felt knowledge. (shrink)

This paper is intended to outline both a special field of somatic inquiry concerning bodily communication and resonance and a theoretical approach combining concepts from the philosophical discourse of “Leibphänomenologie” with empirical participant research on bodily practices in somatics and modern dance. Since both the field of inquiry and the theoretical approach are not yet well established, but rather a work in progress, the paper will focus on the delineation of some theoretical conjectures and conceptual propositions, a (...) few empirical observations, and open questions. (shrink)

This paper argues that pleasure and pains are not qualia and they are not to be analyzed in terms of supposedly antecedently intelligible mental states like bodily sensation or desire. Rather, pleasure and pain are char- acteristic of a distinctive kind of evaluation that is common to emotions, desires, and (some) bodily sensations. These are felt evaluations: pas- sive responses to attend to and be motivated by the import of something impressing itself on us, responses that are (...) nonetheless simultaneously con- stitutive of that import by virtue of the broader rational patterns of which they are a part and that they serve to de?ne. This account of felt eval- uations makes sense of the way in which pleasures and pains grab our attention and motivate us to act and of the peculiar dual objectivity and subjectivity of their implicit evaluations, while o?ering a phenomenology adequate to both emotional and bodily pleasures and pains. (shrink)

In this paper, I will provide a phenomenological analysis of somatic obsessions at times present in obsessive–compulsive disorder. I will compare two different types of bodily obsessions, which have a different neurological-physiological underpinning: anguishing awareness of one’s own heartbeat and of one’s own breathing. In addition, I will contrast these two with how one experiences one’s own liver. I will use the concepts "tactility obsessions” and "motility obsessions”, which I have coined for the purpose of this comparison. In other (...) words, these are obsessions concerning the felt sense of one’s autonomous organs and obsessions concerning one’s ability to voluntarily move. Ultimately, I claim that the core lived experience in somatic obsessive–compulsive disorder should not only be understood as having to do with intruding and "distorted thoughts” concerning bodily processes, but could also be understood as having to do with a felt sense of our organs interrupting and intruding our daily lives. (shrink)

The community representative plays a very important role in an institutional review board but there is sparse data about their understanding of their role in an IRB. This study was conducted to assess perceptions of community members serving on IRBs of one region in India. A validated questionnaire was administered to community members of IRBs in a prospective cross-sectional study. The questions related to demography, perceptions of their role in the IRB, experiences while serving on the IRBs, difficulties faced by (...) them, and suggestions to improve their contributions. Of the 56 IRBs contacted, all 15 of the public institutions shared details of their community members, while only 26 of the 41 IRBs of private institutions responded. When questioned about why they joined the IRB, one third of the respondents said either that there was “no specific reason” for joining or that they accepted the invitation to serve on the insistence of other members of the IRBs or the head of their institution. All except one felt that community members were needed for optimal functioning. Six participants said that they did not review informed consent documents, and 10 were unaware that their presence was vital for quorum to be met. Twenty-eight said they participated actively in meetings and did not feel intimidated by the presence of clinicians. Twelve reported difficulties in understanding medical terminologies in ICDs. Although the majority of participants were aware about their role in an IRB, some did not review important documents such as ICDs. Restricted participation by private hospital IRBs was a striking observation in our study. There is a need to define eligibility criteria and develop targeted training modules for community members to ensure their effective contribution to effective oversight of clinical research. (shrink)

Emotion can be communicated through multiple distinct modalities. However, an often-ignored channel of communication is posture. Recent research indicates that bodily posture plays an important role in the perception of emotion. However, research examining postural communication of emotion is limited by the variety of validated emotion poses and unknown cohesion of categorical and dimensional ratings. The present study addressed these limitations. Specifically, we examined individuals’ (1) categorization of emotion postures depicting 5 discrete emotions (joy, sadness, fear, anger, (...) and disgust), (2) categorization of different poses depicting the same discrete emotion, and (3) ratings of valence and arousal for each emotion pose. Findings revealed that participants successfully categorized each posture as the target emotion, including disgust. Moreover, participants accurately identified multiple distinct poses within each emotion category. In addition to the categorical responses, dimensional ratings of valence and arousal revealed interesting overlap and distinctions between and within emotion categories. These findings provide the first evidence of an identifiable posture for disgust and instantiate the principle of equifinality of emotional communication through the inclusion of distinct poses within emotion categories. Additionally, the dimensional ratings corroborated the categorical data and provide further granularity for future researchers to consider in examining how distinct emotion poses are perceived. (shrink)

This chapter, which deals with the notions of affectivity and engagement, explores the internal connection between basic affects to get at the emergence of affectivity. Additionally, it presents a discussion of motivation and the interplay of affectivity and engagement. Basic affects consist of needs, wants, and desires. Needs and then wants involve a kind of circumspective seeing in which ‘felt’ values are as much a part of objects as their utility. Intentions-in-action are rooted in basic affects. The basic types (...) of affects are each triadically structured with the moments of each type being dyadically organised. The affectivity circuit usually begins with what is not yet a profile coming to prominence out of a dark background. The circuit of engagement is inducted by a bodily drive seeking resolution. (shrink)

Neglect of the moral promise of disorientation is a persistent gap in even the most sophisticated philosophies of embodiment. In this article, I begin to correct this neglect by expanding our sense of the range and nature of disoriented experience and proposing new visions of disorientation as benefiting moral agency. Disorientations are experienced through complex interactions of corporeal, affective, and cognitive processes, and are characterized by feelings of shock, surprise, unease, and discomfort; felt disorientations almost always make us unsure (...) of how to go on. I argue that experiences of disorientation can strengthen the moral agency of individuals. I begin by clarifying experiences of felt ease and orientation. I then characterize disoriented embodiment by investigating select experiences that often involve or accompany disorientation, focusing throughout on how disorientation prompts changes in motivation and action. I conclude by charting how disoriented embodiments can help individuals become better moral agents overall, in part by challenging norms that restrict embodiment and undermining dualistic conceptions of the self. (shrink)