This article aims to acknowledge the bodily complexity of the drawing experience by regarding bodily movement as a teaching modality. Theoretically and methodologically, the article explores the didactic potential of variation in relation to phenomenography, artistic practice, and the Feldenkrais Method of movement. Two interdisciplinary drawing workshops were held, combining drawing with Feldenkrais intraventions. The participants’ drawings were analyzed, with the assumption that changes in the bodily experience of drawing would be discernable in the lines on the paper. (...) The results indicate that the Feldenkrais intraventions affected the bodily experience of drawing. Changes in the bodily experience were discerned and described in terms of proprioceptive presence, with reference to Jennifer Fisher's concept of haptic aesthetics. Two kinds of presence were brought to the fore: a presence defined as being present in the moment, and a presence defined as an increased sensibility towards three-dimensional volume and space. Both kinds are subtle qualities of bodily performativity that tend to go unnoticed in educational settings, in favor of visual or more explicitly performative bodily expressions. A relational epistemological approach is put forth as a way to acknowledge performative qualities of the drawing experience in teaching and learning. (shrink)

Traditionally, the sense of touch—alongside the senses of taste and smell—has been excluded from the aesthetic domain. These proximal modalities are thought to deliver only sensory pleasures, not the complex, world-directed perceptual states that characterize aesthetic experience. In this paper, I argue that this tradition fails to recognize the perceptual possibilities of haptic touch, which allows us to experience properties of the objects with which we make bodily contact, including their weight, shape, solidity, elasticity, and smoothness. These (...) features, moreover, may be indicative of how well-suited an object is for its function, and in feeling them we can thus feel the positive aesthetic quality of functional beauty. (shrink)

Haptic touch is an inherently active and exploratory form of perception, involving both coordinated movements and an array of distinct sensory receptors in the skin. For this reason, some have claimed that haptic touch is not a single sense, but rather a multisensory collection of distinct sensory systems. Though this claim is often made, it relies on what I regard as a confused conception of multisensory interaction. In its place, I develop a nuanced hierarchy of multisensory involvement. According (...) to this hierarchy, touch turns out to be a single modality in that its various receptors assign their features to the same tangible objects. When we grasp an object a range of distinct properties?shape, warmth, heft, texture, etc.?are all felt to belong to the object, just as different visual properties are associated with a visual object. Paradigm multisensory experiences, on the other hand, involve associations between distinct perceptual experiences, as when the way something looks affects the way something sounds. Thus despite its functional and physiological diversity, haptic touch can be regarded as a single sense. (shrink)

This article presents a conceptual discussion on the phenomenon of incorporation of tools and other objects in the light of Maine de Biran’s philosophy of the relation between the body and the motor will. Drawing on Maine de Biran’s view of the body as that portion of the material world which directly obeys one’s motor will, as well as on his view (supported by studies in contemporary cognitive science) of active touch as the perceptual modality that is sensitive to objects (...) as fields of forces resisting the perceiver’s movements, we discuss the phenomena of motor incorporation and haptic incorporation, as well as the relation between them. Motor incorporation occurs when something is integrated into the motor system, i.e. when practice enables one to animate an object as directly, effortlessly and fluently as one is able to animate one’s own body. The subject then has the experience of acting there, where the object is located, not at the body–object interface. In order to better understand the phenomenon of motor incorporation, we highlight the phenomenological difference between directly and indirectly moving something. Haptic incorporation occurs when something is integrated into the haptic system, i.e. when an object is used as an instrument for the haptic perception of other objects. Finally, we seek to shed light on the phenomenon of transparency, understanding the transparency acquired by the incorporated object as both a relational property and a matter of degrees. (shrink)

Thepuzzle of cross‐modal shape experienceis the puzzle of reconciling the apparent differences between our visual and haptic experiences of shape with their apparent similarities. This paper proposes that we can resolve the cross‐modal puzzle by reflecting on another puzzle. Thepuzzle of perspectival characterchallenges us to reconcile the variability of shape experience through shifts in perspective with its constancy. An attractive approach to the latter puzzle holds that shape experience is complex, involving bothperspectivalaspects andconstantaspects. I argue here that (...) parallel distinctions between perspectival and constant aspects of shape experience arise in sight and touch, and that perspectival aspects are modality‐specific while at least some constant aspects are constitutively multisensory. I then address a powerful challenge to the idea that aspects of spatial phenomenology are shared cross‐modally. (shrink)

Experimental aesthetics has shed light on the involvement of pre-motor areas in the perception of abstract art. However, the contribution of texture perception to aesthetic experience is still understudied. We hypothesized that digital screen-based art, despite its immateriality, might suggest potential sensorimotor stimulation. Original born-digital works of art were selected and manipulated by the artist himself. Five behavioral parameters: Beauty, Liking, Touch, Proximity, and Movement, were investigated under four experimental conditions: Resolution (high/low), and Magnitude (Entire image/detail). These were expected (...) to modulate the quantity of material and textural information afforded by the image. While the Detail condition afforded less content-related information, our results show that it augmented the image’s haptic appeal. High Resolution improved the haptic and aesthetic properties of the images. Furthermore, aesthetic ratings positively correlated with sensorimotor ratings. Our results demonstrate a strict relation between the aesthetic and sensorimotor/haptic qualities of the images, empirically establishing a relationship between beholders’ bodily involvement and their aesthetic judgment of visual works of art. In addition, we found that beholders’ oculomotor behavior is selectively modulated by the perceptual manipulations being performed. The eye-tracking results indicate that the observation of the Entire, original images is the only condition in which the latency of the first fixation is shorter when participants gaze to the left side of the images. These results thus demonstrate the existence of a left-side bias during the observation of digital works of art, in particular, while participants are observing their original version. (shrink)

Touch is the first sense to develop in the womb, yet often it is overlooked. The Senses of Touch examines the role of touching and feeling as part of the fabric of everyday, embodied experience. -/- How can we think about touch? Problems of touch and tactility run as a continuous thread in philosophy, psychology, medical writing and representations in art, from Ancient Greece to the present day. Picking through some of these threads, the book ‘feels’ its way towards (...) writing and thinking about touch as both sensory and affective experience. -/- Taking a broadly phenomenological framework that traces the tactility from Aristotle through the Enlightenment to the present day, it examines the role of touch across a range of experiences including aesthetics, digital design, visual impairment and touch therapies. The Senses of Touch thereby demonstrates the varieties of sensory experience, and explores the diverse range of our ‘senses’ of touch. (shrink)

Driving a car is a highly visual task. Despite the trend towards increased driver assistance and autonomous vehicles, drivers still need to interact with the car for both driving and non-driving relevant tasks, at times simultaneously. The often-resulting high cognitive load is a safety issue which can be addressed by providing the driver with alternative feedback modalities, such as haptics. Recent trends in the automotive industry are moving towards the seamless integration of control elements through touch-sensitive surfaces. Psychological knowledge on (...) optimally utilizing haptic technologies remains limited. The literature on automotive haptic feedback consists mainly of singular findings without putting them into a broader user context with respect to haptic design of interfaces. Moreover, haptic feedback has primarily been limited to the confirmation of control actions rather than the searching or finding of control elements, the latter of which becomes particularly important considering the current trends. This paper presents an integrated framework on haptic processing in automotive user interfaces and provides guidelines for haptic design of user interfaces in car interiors. (shrink)

This chapter identifies two contrasting methodological reductions utilized in philosophical scepticism: withdrawal/doubt [R–]; immersion/attention [R+]. Moving toward a feminist ethics grounded in phenomenological scepticism, Aumiller explores how reduction relates to experiences of personal and global uncertainty such as a pandemic. Reduction involves our entire embodied being, challenging how we are fundamentally in touch with the world. How we respond to being disrupted makes all the difference.

According to the perceptual theory of emotion, emotions are evaluative perceptions. However, emotions involve us in a way that regular perception does not and this has led to two influential objections to the perceptual theory have emerged. According to the first objection, the perceptual theory is false because the phenomenology of emotion is the phenomenology of response. According to the second objection, the perceptual theory is false because emotions are susceptible to evaluations of rationality and reason-responsiveness. In this essay, I (...) defend the perceptual theory by disarming these two objections. In response to the first objection, I suggest that emotional phenomenology bears a striking resemblance to the phenomenology of touch. Both are non-transparent forms of experience whereby it is through our experience of being affected in a certain way that reveals to us some property of the world. I disarm the second objection by providing a developmental account as to how adult emotion acquires the features of rational and reason-responsive evaluability. In the process of childhood, we gain the ability to construe the world in certain ways and regulate our emotions in concert with the moral community, thus transforming emotions and bringing them into the space of normative evaluability. (shrink)

Four-month-old infants were allowed to manipulate, without vision, two rings attached to a bar that permitted each ring to undergo rotary motion against a fixed surface. In different conditions, the relative motions of the rings were rigid, independent, or opposite, and they circled either the same fixed point outside the zone of manipulation or spatially separated points. Infants’ perception of the ring assemblies were affected by the nature of the rotary motion in two ways. First, infants perceived a unitary object (...) when the felt ends of the object underwent a common, rigid rotary motion; perception of object unity was stronger in this condition than when the ends underwent either independent or opposite rotary motions. Second, infants perceived two distinct objects when the felt ends of the objects underwent independent rotary motions that centred on distinct fixed points. Perception of the distinctness of the objects was less clear when the ends underwent opposite or independent rotary motions that centred on a common fixed point. These findings provide the first evidence that infants are sensitive to rotary motion patterns and can extrapolate a global pattern of rigid motion from the distinct, local velocities that they produce and experience at their two hands. (shrink)

This article presents a conceptual discussion on the phenomenon of incorporation of tools and other objects in the light of Maine de Biran’s philosophy of the relation between the body and the motor will. Drawing on Maine de Biran’s view of the body as that portion of the material world which directly obeys one’s motor will, as well as on his view (supported by studies in contemporary cognitive science) of active touch as the perceptual modality that is sensitive to objects (...) as fields of forces resisting the perceiver’s movements, we discuss the phenomena of motor incorporation and haptic incorporation, as well as the relation between them. Motor incorporation occurs when something is integrated into the motor system, i.e. when practice enables one to animate an object as directly, effortlessly and fluently as one is able to animate one’s own body. The subject then has the experience of acting there, where the object is located, not at the body–object interface. In order to better understand the phenomenon of motor incorporation, we highlight the phenomenological difference between directly and indirectly moving something. Haptic incorporation occurs when something is integrated into the haptic system, i.e. when an object is used as an instrument for the haptic perception of other objects. Finally, we seek to shed light on the phenomenon of transparency, understanding the transparency acquired by the incorporated object as both a relational property and a matter of degrees. (shrink)

A rich and multi-stranded sociology of sporting embodiment has begun to emerge in recent years. Calls have been made to analyze more deeply not only the sensory dimensions of lived sporting bodies but also the values prevailing within particular physical–cultural worlds. This article contributes to a small, developing research corpus by employing theoretical perspectives drawn from phenomenological sociology to explore cross-country runners' sensory encounters with the elemental, contoured by the values of the running lifeworlds they inhabit. Autoethnographic and autophenomenographic data (...) were collected via three research projects. Senses of touch still remain under-researched within the sporting sensorium, and here we focus on the “elemental haptics” of earth and air on our cross-country training runs. We also explore the rich, complex somatic experiences afforded by various of these elemental combinations. For runners, as for many sports participants, the haptic emerges as a key aspect of our sensuous running lifeworld. (shrink)

Here we question the mechanisms underlying the emergence of the feeling of control that can be modulated even when the feeling of being the author of one’s own action is intact. With a haptic robot, participants made series of vertical pointing actions on a virtual surface, which was sometimes postponed by a small temporal delay (15 or 65 ms). Subjects then evaluated their subjective feeling of control. Results showed that after temporal distortions, the hand-trajectories were adapted effectively but that (...) the feeling of control decreased significantly. This was observed even in the case of subliminal distortions for which subjects did not consciously detect the presence of a distortion. Our findings suggest that both supraliminal and subliminal temporal distortions that occur within a healthy perceptual–motor system impact the conscious experience of the feeling of control of self-initiated motor actions. (shrink)

Enactive cognitive science (ECS) and ecological psychology (EP) agree that active movement is important for perception, but they remain ambiguous regarding the precise role of agency. EP has focused on the notion of sensorimotor invariants, according to which bodily movements play an instrumental role in perception. ECS has focused on the notion of sensorimotor contingencies, which goes beyond an instrumental role because skillfully regulated movements are claimed to play a constitutive role. We refer to these two hypotheses as instrumental agency (...) and constitutive agency, respectively. Evidence comes from a variety of fields, including neural, behavioral, and phenomenological research, but so far with confounds that prevent an experimental distinction between these hypotheses. Here we advance the debate by proposing a novel double-participant setup that aims to isolate agency as the key variable that distinguishes bodily movement in active and passive conditions of perception. We pilot this setup with a psychological study of width discrimination using the Enactive Torch, a haptic sensory substitution device. There was no evidence favoring the stronger hypothesis of constitutive agency over instrumental agency. However, we caution that during debriefing several participants reported using cognitive strategies that did not rely on spatial perception. We conclude that this approach is a viable direction for future research, but that greater care is required to establish and confirm the desired modality of first-person experience. (shrink)

This article describes and evaluates an approach to create and/or improve tactical agents through direct human interaction in real time through a force-feedback haptic device. This concept takes advantage of a force-feedback joystick to enhance motor skill and decision-making transfer from the human to the agent in real time. Haptic devices have been shown to have high bandwidth and sensitivity. Experiments are described for this new approach, named Instructional Learning. It is used both as a way to build (...) agents from scratch as well as to improve and/or correct agents built through other means. The approach is evaluated through experiments that involve three applications of increasing complexity – chasing a fleer, shepherding a flock of sheep into a pen, and driving a virtual automobile through a simulated road network. The results indicate that in some instances, instructional learning can successfully create agents under some circumstances. However, instructional learning failed to build and/or improve agents in other instances. The Instructional Learning approach, the experiments, and their results are described and extensively discussed. (shrink)

Geometrical intuitions spontaneously drive visuo-spatial reasoning in human adults, children and animals. Is their emergence intrinsically linked to visual experience, or does it reflect a core property of cognition shared across sensory modalities? To address this question, we tested the sensitivity of blind-from-birth adults to geometrical-invariants using a haptic deviant-figure detection task. Blind participants spontaneously used many geometric concepts such as parallelism, right angles and geometrical shapes to detect intruders in haptic displays, but experienced difficulties with symmetry (...) and complex spatial transformations. Across items, their performance was highly correlated with that of sighted adults performing the same task in touch (blindfolded) and in vision, as well as with the performances of uneducated preschoolers and Amazonian adults. Our results support the existence of an amodal core-system of geometry that arises independently of visual experience. However, performance at selecting geometric intruders was generally higher in the visual compared to the haptic modality, suggesting that sensory-specific spatial experience may play a role in refining the properties of this core-system of geometry. (shrink)

In their exhaustive study of the cognitive operation of analogy, Hofstadter and Sander arrive at a paradox: the creative and inexhaustible production of analogies in our thought must derive from a “reminding” operation based upon the availability of the detailed totality of our experience. Yet the authors see no way that our experience can be stored in the brain in such detail nor do they see how such detail could be accessed or retrieved such that the innumerable analogical (...) remindings we experience can occur. Analogy creation, then, should not be possible. The intent here is to sharpen and deepen our understanding of the paradox, emphasizing its criticality. It will be shown that the retrieval problem has its origins in the failure of memory theory to recognize the actual dynamic structure of events. This structure is comprised of invariance laws as per J. J. Gibson, and this event “invariance structure” is exactly what supports Hofstadter and Sander’s missing mechanism for analogical reminding. Yet these structures of invariants, existing only over optical flows, auditory flows, haptic flows, etc., are equally difficult to imagine being stored in a static memory, and thus only exacerbate the problem of the storage of experience in the brain. A possible route to the solution of this dilemma, based in the radical model of Bergson, is also sketched. (shrink)

The importance of touch to mammalian survival and well-being cannot be overstated. The capacity for action depends on the sense of touch, which is a necessary feature of an animal’s being-in-the-world (O’Shaughnessy, 1989, pp. 38–39). Interpersonal touch has been shown to be an important part of human welfare, including disease prevention and treatment (see Field, 2001 for review). Throughout a mammal’s lifespan, social relation- ships are also mediated by touch behavior (see Thayer, 1986 for review). Given these facts, the sense (...) of touch is relevant to a variety of topics in psychology, including but not limited to: perception, action, nonverbal behavior, relationships, development, emotion, and health. (shrink)

Human perception has long been a critical subject of design thinking. While various studies have stressed the link between thinking and acting, particularly in spatial experience, the term “design thinking” seems to disconnect conceptual thinking from physical expression or process. Spatial perception is multimodal and fundamentally bound to the body that is not a mere receptor of sensory stimuli but an active agent engaged with the perceivable environment. The body apprehends the experience in which one’s kinesthetic engagement and (...) knowledge play an essential role. Although design disciplines have integrated the abstract, metaphoric, and visual aspects of the body and its movement into conceptual thinking, studies have pointed out that design disciplines have emphasized visuality above the other sensory domains and heavily engaged with the perception of visual configurations, relying on the Gestalt principles. Gestalt psychology must be valued for its attention to a whole. However, the theories of design elements and principles over-empathizing such visuality posit the aesthetics of design mainly as visual value and understate other sensorial and perceptual aspects. Although the visual approach may provide a practical means to represent and communicate ideas, a design process heavily driven by visuality can exhibit weaknesses undermining certain aspects of spatial experience despite the complexity. Grounded in Merleau-Ponty’s notion of multisensory perception, this article discusses the relationship between body awareness and spatial perception and its implication for design disciplines concerning built environments. Special attention is given to the concepts of kinesthetic and synesthetic phenomena known as multisensory and cross-sensory, respectively. This discussion integrates the corporeal and spatiotemporal realms of human experience into the discourse of kinesthetic and synesthetic perceptions. Based on the conceptual, theoretical, and precedent analyses, this article proposes three models for design thinking: Synesthetic Translation, Kinesthetic Resonance, and Kinesthetic Engagement. To discuss the concepts rooted in action-based perception and embodied cognition, this study borrows the neurological interpretation of haptic perception, interoception, and proprioception of space. This article suggests how consideration of the kinesthetic or synesthetic body can deepen and challenge the existing models of the perceptual aspects of environmental psychology adopted in design disciplines. (shrink)

This chapter offers phenomenological ethics of intimacy for experiences of isolation, reduced haptic relations, and periods when we must hold each other at a distance. How can we practice an ethics of intimacy from a space of separation and suspended activities involving bodily proximity and touch? By drawing on Luce Irigaray’s identification of a “caress before the caress,” I locate a queer, feminist ethics of intimacy born from the experience of undetermined desire or “erotic suspension.” The reduction and (...) disruption of touching, brought about by a crisis such as a pandemic, magnifies the experience of ethical or epistemological uncertainty surrounding haptic relations. But I argue that the experience of erotic suspension before the caress underlies all forms of being-together. One’s relationship to this moment before the caress is critical because it informs and transforms the way we are together. The disruption of our usual forms of being-together may be an opportunity for transformed ethical relations, the expansion of intimacy, and heightened sensation and pleasure. (shrink)

In this paper, I suggest an aesthetic model that is consistent with anti-foundational scientific knowledge. How has an aesthetics without foundation to be configured? In contrast to the conventional subject/object model, with idealistic and subjective aesthetics, but also with object-oriented assumptions, I suggest that aesthetics has to be characterized as relational aesthetics in terms of process-oriented perception and that this leads to an _Aesthetics Without Objects_ (AWO) approach. The relational nature of processes means that they do not happen _inter_-, that (...) is, between ontologically delimited and stable entities, but rather they _correspond_ between relations. I will try to show that AWO matches well with the onto-phenomenological-epistemic and relational models proposed by recent theories in different fields of science, especially in the relational interpretation of quantum physics. The field of aesthetics, then, does not indicate perceptual fixed contents—either subjective or objectual properties—rather it emerges from a correspondence occurring in an engaged and situated perceptual movement, an _agencing_ that is prior to any sharp distinction between a perceiver and a perceived. I propose to call _haptic_ this perceptual agencing. In the first section, I describe the reasons according to which the adoption of AWO seems more correct and advisable, both with respect to contemporary scientific models and to the current ecological changes on the planet. In the second section, I portray some characteristics of AWO. In the third section, I argue that AWO calls for haptic perception. In the fourth section, I briefly draw some meta-aesthetics consequences concerning, on the one side, socio-political issues of AWO and, on the other side, the possibility for a theory in an anti-foundational model. I conclude with a proposal: a process-oriented aesthetics approach has to be understood mainly as an _art of thinking_. This means rethinking and re-evaluating the idea of aesthetics as an _artisan thought_. (shrink)

The embargo on touching in museums is increasingly being brought into question, not least by blind activists who are calling for greater access to collections. The provision of opportunities to touch could be read as a potential conflict between established optic knowledge and illicit haptic experience, between the conservation of objects and access to collections. Instead I suggest that touch is not necessarily other to the museum; rather, the status of who does the touching and knowing is crucial (...) and not the use of touch per se. It is expert territory and vested academic interests that are at stake here. Using Bruno Latour’s (1993) conceptions of hybrid networks and purified zones of academic practice, I then explore what the unacknowledged existence of touch means for museums and for notions of authority more generally. I suggest that if the apparent boundaries of disciplines are unconvincing in practice, then the possibility of expert knowledge is seriously undermined. Blind people’s demand for access through touch is not then a challenge of one paradigm to another but implicitly questions the accreditation of authority itself. As such it forms part of a wider institutional shift with regard to expertise and an increased need for negotiating between different conceptual frameworks. The ocularcentric bias of museums is increasingly being questioned by blind and visually impaired visitors who emphasize touch as a learning and aesthetic experience. This challenge is contentious not least because it ostensibly brings the individuals’ rights of access into direct conflict with museum conservation. I argue that concerns over conservation can, however, mask and serve to legitimate preconceptions about who should have access to collections; what counts as damage or dirt; and the means by which art and artefacts can be understood or enjoyed. It is expertise rather than the conservation of objects which is at stake. This article suggests that in campaigning for access through touch, blind people physically move beyond the barriers which reserve contact for the museum elite and simultaneously establish the viability of learning in a way that is not sanctioned by the art historical community. Thus resistance to touch in museums is not so much a concern for preservation as a defence of territory and expertise. (shrink)

Based on observations and interviews collected during a yearlong ethnography of two anatomy laboratory courses at a large Midwestern university, this article argues that students learn anatomy through the formation of an observational-embodied look. All of the visual texts and material objects of the lab—from atlas illustrations, to photographs, to 3D models, to human bodies—are involved in this look that takes the form of anatomical demonstration and dissection. The student of anatomy, then, brings together observation, visual evidence, haptic (...) class='Hi'>experience, and anatomical-medical knowledge to identity as anatomy those objects on display. Through an interrogation of and reflection on the bodies of the course, the participants must learn to recognize and appreciate the descriptive and relational values of anatomical evidence, and in the process develop the habitus of anatomists. Drawing from the work of Maurice Merleau-Ponty, Pierre Bourdieu, and Herbert Dreyfus, the author seeks to both uncover how students learn anatomy as well as articulate a theory of embodied learning. (shrink)

Artists’ books are challenging to photograph. They function as a unit of tightly conceptually-bound visual, textual and material elements in addition to a heightened self-awareness of the work's booksness. Binding, size, weight, and shape of the book, translucency, texture, thickness of paper, placement of images and/or text on the page or off the page interact with other graphic elements; they control, and direct the reader towards the expressive components of meaning which arise from pace, haptic experience, and visual (...) or structural stylistic choices. Most of such information gets sacrificed in the process of documentation. Here I discuss some of such issues of photographing artists books for this journal and my solutions to replicating each artists’ book within the physical and thematic constraints of this publication: I tried not only to visualize the books’ content but also to translate some of the experience of how that content makes itself meaningful to the reader. (shrink)

The empirical literature on phenomenal causality (the notion that causality can be perceived) is reviewed. Different potential types of phenomenal causality and variables that influence phenomenal causality were considered in Part I (Hubbard 2012b) of this two-part series. In Part II, broader questions regarding properties of phenomenal causality and connections of phenomenal causality to other perceptual or cognitive phenomena (different types of phenomenal causality, effects of spatial and temporal variance, phenomenal causality in infancy, effects of object properties, naïve physics, spatial (...) localization, other illusions, amodal completion, Gestalt principles of perceptual grouping, effects of context, differences between physical and social causality, effects of learning and experience, individual differences, effects of predictability, asymmetry in phenomenal causality, differences between perceived causality and perceived force, phenomenal causality in nonhuman animals) are considered. Potential mechanisms of phenomenal causality (inference from contiguity, a priori understanding, ampliation, perceptual learning, stimulus activity, beliefs regarding kinematics, haptic experience, beliefs regarding impetus, postdiction, innateness, modularity, specific neural structures) are also considered. (shrink)

Three experiments are reported that address the issue of awareness in evaluative learning in two different sensory modalities: visual and haptic. Attempts were made to manipulate the degree of awareness through a reduction technique (by use of a distractor task in Experiments 1 and 2 and by subliminally presenting affective stimuli in Experiment 3) and an induction technique (by unveiling the evaluative learning effect and requiring participants to try to discount the influence of the affective stimuli). The results indicate (...) overall that evaluative learning was successful in the awareness-reduction groups but not in the awareness-induction groups. Moreover, an effect in the opposite direction to that normally observed in evaluative learning emerged in participants aware of the stimulus contingencies. In addition, individual differences in psychological reactance were found to be implicated in the strength and direction of the effect. It is argued that these results pose serious problems for the contention that awareness is necessary for evaluative learning. (shrink)

Philosophers of perception have been readier to postulate the existence of a visual field than to acknowledge sensory fields in other modalities. In this paper, I argue that the set of phenomenal features that philosophers have relied on when positing a visual field aptly characterise, mutatis mutandis, bodily sensation. I argue, in particular, that in localised bodily sensations we experience the body as a sensory field. I first motivate this claim for the case of haptic touch, and then (...) generalise it to other kinds of bodily sensation. I demonstrate the theoretical fruitfulness of this notion of a bodily field for the debate on the phenomenology of bodily ownership. (shrink)

Haptic sensation of a material can be modulated by its visual appearance. A technique that utilizes this visual-haptic interaction is called as pseudo-haptic feedback. Conventional studies have investigated pseudo-haptic feedback in situations, wherein a user manipulated a virtual object using a computer mouse, a force-feedback device, etc. The present study investigated whether and how it was possible to offer pseudo-haptic feedback to a user who manipulated a virtual object using keystrokes. Participants moved a cursor toward (...) a destination by pressing a key. While the cursor was moving, the cursor was temporarily slowed down on a square area of the screen. The participants’ task was to report, on a five-point scale, how much resistance they felt to the cursor’s movement. In addition to the basic speed of the cursor, the ratio of the basic speed to the speed within the square area was varied. In Experiment 1, we found that these two factors interacted significantly with each other, but further analysis showed that the cursor speed within the square area was the most important determinant of perceived resistance. In Experiment 2, consistent with the results of the previous experiment, it was found that the cursor movement outside of the square area was not required to generate the sense of resistance. Counterintuitively, in Experiment 3, the sense of resistance was apparent even without user’s keystrokes. We discuss how the sense of resistance for a cursor moved by keystrokes can be triggered visually, but interpreted by the brain as a haptic impression. (shrink)

Molyneux’s question is, very roughly, that of whether a blind person's prior acquaintance with shape properties by touch alone would suffice for visually identifying those properties, if her sight were restored. The question is at least in part an empirical one, and various scientific attempts have been made to answer it not only for sight and haptic touch but also for various other sensory modalities. This paper is not aimed at answering Molyneux’s original or related questions. Rather, our aim (...) here is to bring his question to bear on the nature of multisensory integration. In particular, we argue that variants on Molyneux's question spell trouble for a dominant view of multisensory integration and develop an alternative account that is immune to these problems. Finally, we show that the answer to Molyneux’s original question has interesting consequences for whether our alternative account is true of all cases of multisensory experience. (shrink)

Our thesis is that proprioception is not a sixth sense distinct from the sense of touch, but a part of that tactile (or haptic) sense. The tactile sense is defined as the sense whose direct intentional objects are macroscopic mechanical properties. We first argue (against D. Armstrong, 1962; B. O'Shaughnessy 1989, 1995, 1998 and M. Martin, 1992, 1993,1995) that the two following claims are incompatible : (i) proprioception is a sense distinct from touch; (ii) touch is a bipolar modality, (...) that intrinsically has both a subjective-bodily pole and objective pole. We then argue that the bipolarity of touch should be preferred over the introduction of a sui generis sense of the body. We try to revive Aristotle suggestion according to which the body is the tactile medium (like the air for sight). Since this medium is constantly changing its shape, we need some specific channel of information about its state : proprioception, functionally defined, is that part of touch which informs us about the state of this changing tactile medium. Though muscular and articular receptors are usually dedicated to inform us about the mechanical properties of the tactile media, and the skin receptors about the mechanical properties of the tactile objects, this is not essentially so. In weighting or wielding experiments we access the weight of external objects even when skin sensitivity is absent; in prosthetic touch, the skin receptors play the role usually assigned to muscle and articular receptors, namely to inform us about the mechanical state of the tactile medium. So proprioception, anatomically defined, can play both the role of informing us about the tactile medium, or about the tactile objects. That other sensory modalities also rely on proprioceptive information should be understood in terms of cross-modal dependencies: of sight, hearing, smell, taste...on touch. (shrink)

I give an account of sensory presentation, an indispensable and irreducible element of perceptual experience, in terms of the principle of sympathy. Haptic touch, audition, and vision are compared.

This thesis constructs an Interactive Theory of Beauty to change the way we think about beauty and aesthetic form, in order to resolve the conceptual discrepancies between the features that characterize the traditional concept of beauty and the features of the phenomenology of beauty. The assumptions that underlie these discrepancies are identified. I hypothesize an alternative assumption that would need to be the case to resolve the tensions between the traditional concept and the phenomenology. This involves rejecting the idea that (...) beauty is an objective property of the object, and instead considering the possibility that beauty is an awareness of a certain aspect of the perceptual processing of the object. As such, beauty would be neither purely subjective nor purely objective; but a relational property. This hypothesis is mapped out in terms of a computational model of perception. The argument relies on the explanatory power of this conception of beauty. I employ my central hypothesis to explain how beauty can be both universal and subjective; an experience of the aesthetic form of the object which can, in some cases, supervene on representational content; and a property which is experienced as inferred from more basic properties, yet ineffable. While I focus mainly on visual beauty, I suggest applications for musical beauty and haptic beauty, particularly in non-sighted persons. This Interactive Theory of Beauty also accounts for the instrumentality of beauty, which is a feature of scientific and mathematical beauty. If my central hypothesis is correct, then the experience of beauty may offer insights into the nature of creativity in all fields of enquiry. (shrink)

This research investigates flow experiences and explores meaning construction for artistic practices that differ in haptic nature. In addition to the phenomenological analysis of interviews, videos of artistic practice and practice-based research were employed to obtain both retrospective and real-time records of the physicality of artistic practice. Drawing on authors who emphasise the automatisation of actions in flow and heightened body awareness flow is reconceptualised in non-representational terms as optimal precognitive engagement with the world. In this light meaning in (...) flow results not from bringing order to the mind as Csikszentmihalyi proposed, but through its embodied construction in activity. Analyses revealed that the sources of enjoyment and meaning, the relationship between artist, tools and artwork, and the nature and extent of self-differentiation differ between artists who work in two and three dimensions, and whose physical actions differ in the production of their artwork. 2D artists derive enjoyment from their creative process and meaning from capturing an atmosphere or place, and attribute artistic control to their artwork. 3D artists derive more enjoyment from the product of their artistic activity and meaning from the recreation of the self in material form, and do not attribute artistic control to the artwork. Consequently, embodied physicality of activity appears fundamental to similarities in flow experiences and meaning-making: accounts of flow and the meanings generated in activity differ between activities that differ in their haptic or performative nature but are similar among haptically similar activities. (shrink)

This chapter distinguishes between two kinds of ordinary multisensory experience that go beyond mere co-consciousness of features (e.g., the experience that results from concurrently hearing a sound in the hallway and seeing the cup on the table). In one case, a sensory experience in one modality creates a perceptual demonstrative to whose referent qualities are attributed in another sensory modality. For example, when you hear someone speak, auditory experience attributes audible qualities to a seen event, a (...) person’s speaking motions. The second kind of multisensory experience attributes features experienced in several sensory modalities to one and the same object via a process of amodal perceptual integration, i.e., integration that occurs separately from processing within the individual sensory modalities. Multisensory experiences arising from holding and seeing a tomato or from seeing the Indian curry boil and smelling it are examples of the second kind of multisensory experience. At the end of the chapter we look at synesthesia, a kind of atypical multisensory experience, and argue that one version of this phenomenon may be able to shed light on the neural mechanism underlying amodally integrated multisensory experience. (shrink)

Many upper limb amputees experience an incessant, post-amputation “phantom limb pain” and report that their missing limbs feel paralyzed in an uncomfortable posture. One hypothesis is that efferent commands no longer generate expected afferent signals, such as proprioceptive feedback from changes in limb configuration, and that the mismatch of motor commands and visual feedback is interpreted as pain. Non-invasive therapeutic techniques for treating phantom limb pain, such as mirror visual feedback (MVF), rely on visualizations of postural changes. Advances in (...) neural interfaces for artificial sensory feedback now make it possible to combine MVF with a high-tech “rubber hand” illusion, in which subjects develop a sense of embodiment with a fake hand when subjected to congruent visual and somatosensory feedback. We discuss clinical benefits that could arise from the confluence of known concepts such as MVF and the rubber hand illusion, and new technologies such as neural interfaces for sensory feedback and highly sensorized robot hand testbeds, such as the “BairClaw” presented here. Our multi-articulating, anthropomorphic robot testbed can be used to study proprioceptive and tactile sensory stimuli during physical finger-object interactions. Conceived for artificial grasp, manipulation, and haptic exploration, the BairClaw could also be used for future studies on the neurorehabilitation of somatosensory disorders due to upper limb impairment or loss. A remote actuation system enables the modular control of tendon-driven hands. The artificial proprioception system enables direct measurement of joint angles and tendon tensions while temperature, vibration, and skin deformation are provided by a multimodal tactile sensor. The provision of multimodal sensory feedback that is spatiotemporally consistent with commanded actions could lead to benefits such as reduced phantom limb pain, and increased prosthesis use due to improved functionality and reduced cognitive burden. (shrink)

According to the decomposition thesis, perceptual experiences resolve without remainder into their different modality-specific components. Contrary to this view, I argue that certain cases of multisensory integration give rise to experiences representing features of a novel type. Through the coordinated use of bodily awareness—understood here as encompassing both proprioception and kinaesthesis—and the exteroceptive sensory modalities, one becomes perceptually responsive to spatial features whose instances couldn’t be represented by any of the contributing modalities functioning in isolation. I develop an argument for (...) this conclusion focusing on two cases: 3D shape perception in haptic touch and experiencing an object’s egocentric location in crossmodally accessible, environmental space. (shrink)

This text deals with the relationships between the phenomenalizations of hand and engraving art, especially against the background of Gaston Bachelard’s philosophical commentaries on the works of Albert Flocon. Special space is devoted to the interpretation of Flocon’s engraving of two hands in connection with Escher’s similar lithography. Another thematic field is the role of the tool and the hand equipped with the tool. However, the central axis of this thinking is the interconnection or intertwining of body and matter, the (...) interactive relationship between human being and matter, between visual observation and dynamic haptics, which require a certain force and thus also experience the back pressure of matter. The conclusion of the text draws attention to a specific engraving, such as writing, especially the writing of a philosophical text, as we read about it in Bachelard’s book The Flame of a Candle, the last word of which is—surprisingly—engraving. (shrink)

The sense of touch provides us knowledge of two kinds of events. Tactile sensation (T) makes us aware of events on or just below the skin; haptic perception (H) gives us knowledge of things outside the body with which we are in contact. This paper argues that T and H are distinct experiences, and not (as some have argued) different aspects of the same touch-experience. In other words, T ≠ H. Moreover, H does not supervene on T. Secondly: (...) In T, we are aware of immanent, phenomenal qualities; in H, we come to know of transcendent qualities in things that exist independently of ourselves. Finally: T is non-spatial; it is indexed by parts of the body, but not by position in space. H, by contrast, is spatial. This brings to mind Kant’s contention that things are presented as existing objectively when they are represented spatially. (shrink)

Previous studies have shown that object properties are processed faster when they follow properties from the same perceptual modality than properties from different modalities. These findings suggest that language activates sensorimotor processes, which, according to those studies, can only be explained by a modal account of cognition. The current paper shows how a statistical linguistic approach of word co-occurrences can also reliably predict the category of perceptual modality a word belongs to (auditory, olfactory–gustatory, visual–haptic), even though the statistical linguistic (...) approach is less precise than the modal approach (auditory, gustatory, haptic, olfactory, visual). Moreover, the statistical linguistic approach is compared with the modal embodied approach in an experiment in which participants verify properties that share or shift modalities. Response times suggest that fast responses can best be explained by the linguistic account, whereas slower responses can best be explained by the embodied account. These results provide further evidence for the theory that conceptual processing is both linguistic and embodied, whereby less precise linguistic processes precede precise simulation processes. (shrink)

In recent years, calls have been made to address the relative dearth of qualitative sociological investigation into the sensory dimensions of embodiment, including within physical cultures. This article contributes to a small, innovative and developing literature utilizing sociological phenomenology to examine sensuous embodiment. Drawing upon data from three research projects, here we explore some of the ‘sensuousities’ of ‘intense embodiment’ experiences as a distance-running-woman and a boxing-woman, respectively. Our analysis addresses the relatively unexplored haptic senses, particularly the ‘touch’ of (...) heat. Heat has been argued to constitute a specific sensory mode, a trans-boundary sense. Our findings suggest that ‘lived’ heat, in our own physical-cultural experiences, has highly proprioceptive elements and is experienced as both a form of touch and as a distinct perceptual mode, dependent upon context. Our analysis coheres around two key themes that emerged as salient: (1) warming up, and (2) thermoregulation, which in lived experience were encountered as strongly interwoven. (shrink)

This study aimed at evaluating the role of proprioception in the process of matching the final position of one's limbs with an intentional movement. Two experiments were realised with the same paradigm of conscious recognition of one's own limb position from a distorted position. In the first experiment, 22 healthy subjects performed the task in an active and in a passive condition. In the latter condition, proprioception was the only available information since the central signals related to the motor command (...) were likely to be absent. The second experiment was realised with a deafferented patient who suffers from a complete haptic deafferentation, including loss of proprioception. The results first argue in favour of a dominant role of proprioception in action recognition, but they also stress the possible role of central signals. The process of matching the final position of one's limbs with an intended movement and thus of action recognition would be achieved through a comparison process between the predicted sensory consequences of the action, which are stored in its internal model, and the actual sensory consequences of that action. (shrink)

Molyneux’s question asks whether a person born blind who has learned to identify shapes by touch could, if suddenly granted sight, immediately identify shapes visually. This question has often been used to structure discussions of whether there is a “rational connection” between sight and touch—whether it is possible to rationally doubt whether the same shape properties are both seen and felt. I distinguish two questions under this general heading. The first concerns, roughly, whether the visual and haptic perception of (...) shape is rationally connected in normally sighted perceivers. The second concerns, roughly, whether the visual and haptic perception of shape is rationally connected in all possible perceivers. I argue that real-world implementations of Molyneux’s question are irrelevant to the first question, but potentially relevant to the second. However, I also argue that the second question does not have the philosophical significance it is sometimes claimed to have. In particular, it cannot be used to adjudicate debates about whether the phenomenal character of perceptual experience is primarily determined “externally” by the worldly properties we perceive, or “internally” by physiological or functional properties of our brains. (shrink)

This paper is a defense of an internalist view of the perception of shapes. A basic assumption of the paper is that perceptual experiences have certain parts which account both for the phenomenal character associated with perceiving shapes—phenomenal shapes—and for the intentional content presenting shapes—intentional shapes. Internalism about perceptions of shapes is defined as the claim that phenomenal shapes determine the intentional shapes. Externalism is defined as the claim that perceptual experiences represent whatever shape the phenomenal shape reliably tracks. The (...) argument against externalism proceeds in three steps. First, it is argued that phenomenal shapes are modality specific, such that a phenomenal shape that features in a visual perceptual experience cannot feature in a haptic perceptual experience, and vice versa. Second, it is argued that intentional shapes are amodal. Third, it is argued that externalism is incompatible with the fact that phenomenal shapes are modality specific and intentional shapes amodal. (shrink)

This series of images forms part of the ongoing project Soft Ground, Hard Light, which speculates on a multiscalar spatial ontology of photography emanating from the Arditurri silver mine complex in the Basque Country. Evoking the mountainous massif around Arditurri where silver ore and galena have been extracted since Roman presence in the area, the depicted topographies are, in fact, data transcriptions from atomic force microscopy (AFM) probing the analogue film stock of an early 1930s experiment in 3D cinema, Cine (...) en Relieve, by the Basque cinematographer Teófilo Mingueza. In contrast to optical or electron microscopy, AFM uses a scanning probe to physically touch the specimen, recording its surface undulations at the atomic scale of a nanometre, or a billionth of a metre. As a haptic operation based on direct contact between instrument and sample, between apparatus and referent, AFM is literally a contact print, a ‘blind’ scan that senses not the visual content of the recorded image but ‘feels’ its underlying material substrate of silver nanoparticles within the 35 mm film emulsion. The resulting image assemblies visualize a topography resulting from the intra-action between the silver nanoparticles and the scanning probe as much as its transcription through the particular parameters afforded by the AFM analysis software. Hard Light, Soft Ground was initiated during an artist’s residency at Tabakalera Centre for Contemporary Culture, Donostia-San Sebastián, and is currently in production as part of the wider research project Esper Syndrome: Archaeotopologies of the Image at the Royal College of Art, funded by the AHRC through the London Arts & Humanities Partnership. With additional thanks to the Basque Film Archive and Gustavo Ariel Schwartz at the Materials Physics Centre, Donostia-San Sebastián. (shrink)

In the digital era, digital games, particularly those in virtual spaces, have become integral to daily life, offering users not only a blend of real and virtual world interactions but also an enhanced sense of happiness and fulfilment. However, traditional digital gaming modes often fall short in meeting the increasing demands for higher quality and more immersive experiences. This paper proposes a new model for the development of artificial intelligence-driven digital games based on virtual space, addressing the ethical and spiritual (...) implications of such advancements. The research builds on data from a 2018 user expectation survey, which indicated significant demand for enhanced virtual reality (VR) games, improved voice communication, and tactile interaction within these environments. We developed a multidimensional model incorporating vision, touch, and auditory feedback, utilizing a Kinect-based haptic interaction redirection algorithm to enhance physical-virtual interaction. This algorithm significantly reduces angular deviation by 10% in virtual navigation, enhancing the boundary definition in virtual spaces and thereby improving the immersive experience. Further enhancements include an Encoder-Decoder (ED) framework for voice communication that employs a neural network with multiple feedback loops to adjust weight values, improving speech recognition accuracy by 15%. This system provides a more responsive and realistic communication environment within digital games. Lastly, the application of computer vision technology and deep learning techniques, including a backpropagation (BP) neural network, improves the system's image recognition capabilities, extending its precision and capacity for rendering high-definition, precise game graphics. This study not only advances the technical aspects of AI in gaming but also prompts a deeper philosophical discussion on the ethical and spiritual impacts of these immersive virtual environments. As AI continues to blur the lines between reality and virtuality, this research invites further inquiry into how such technologies influence human perception, behavior, and morality within digital spaces. (shrink)

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By (...) doing so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment. (shrink)

This article aims to present how paper-folding activities were integrated into recreational mathematics during the 17th and the 18th centuries. Recreational mathematics was conceived during these centuries as a way not only to pique one’s curiosity, but also to communicate mathematical knowledge to the literate classes of the population. Starting with Leurechon’s 1624 Récréation mathématique, which did not contain any exercise concerning paper folding, we show how two other traditions—Dürer’s folded nets on the one hand and napkin folding on the (...) other hand—prompted and influenced the integration of folding within subsequent books and manuscripts, especially those of Georg Philipp Harsdörffer and Daniel Schwenter. In Germany, but also to a lesser extent in France, folding was henceforth re-conceptualised within recreational mathematics as a way to transmit geometrical knowledge. Following Harsdörffer, the paper will claim that practising folding activities enabled the acquiring of a geometrical knowledge, which was haptic rather than symbolical or merely visual. This tactility reflects the Baconian conception of science and scientific experiment; and the paper will try to illuminate how folding, by advancing practice and tactility via experiments, was representing these traditions and conceptions. (shrink)