This paper raises fundamental questions about the claims of art historian David Freedberg and neuroscientist Vittorio Gallese in their article "Motion, Emotion and Empathy in Esthetic Experience." It does so from several perspectives, all of them rooted in the dynamic realities of movement. It shows on the basis of neuroscientific research how connectivity and pruning are of unmistakable import in the interneuronal dynamic patternings in the human brain from birth onward. In effect, it shows that mirror neurons are contingent on (...) morphology and corporeal-kinetic tactile-kinesthetic experience. Accordingly, it poses and answers the overlooked but seminally important question of how mirror neurons come to be. The original neuromuscular research of Parma neuroscientists and the findings of Marc Jeannerod concerning kinesthesia support the answer that the "underpinnings" of visual art appreciation are themselves underpinned. An abbreviated phenomenological analysis of movement and its implications regarding the fact that the making of all art is quintessentially contingent on movement, hence a dynamic enterprise, further bolster the given answer as does a brief review of an empirical phenomenological analysis of the natural dynamic congruency of emotions and movement. In the end, the paper shows that movement and life are of a piece in the creation and appreciation of art as in everyday life. (shrink)

An ontogenetically-informed epistemology is necessary to understandings of apprenticeship learning. The methodology required in this enterprise is a constructive phenomenology, a phenomenology that takes into account the fact that as infants, we were apprentices of our own bodies: we all learned our bodies and learned to move ourselves. The major focus of this essay is on infant social relationships that develop on the ground of our original corporeal-kinetic apprenticeship. It shows how joint attention, imitation, and turn-taking - all (...) richly examined areas in infant social development - are the foundation of apprenticeship learning in later adult life. The relationship between each infant capacity and later apprenticeship learning is demonstrated in examples from present-day research, specifically, research in the areas of medicine, sport, music, and tailoring, and research carried out by philosophers on apprenticeship learning. (shrink)

Three methodologically distinctive empirical studies of the emotions carry forward Darwin's work on the emotions, vindicate Sperry's finding that the brain is an organ of and for movement, and implicitly affirm that affectivity is tied to the tactile-kinesthetic body. A phenomenological analysis of movement deepens these empirical findings by showing how the dynamic character of movement gives rise to kinetic qualia. Analysis of the qualitative structure of movement shows in turn how motion and emotion are dynamically congruent. (...) Three experiences of fear are presented--phenomenological, ethological, and literary--to demonstrate the dynamic congruency. Five implications follow from the analysis, including the implications that movement is not equivalent to behavior, experience is not physiological activity, and a brain is not a body. (shrink)

This article argues that language without the body does not `mean' at all; corporeality provides language with meaning under socio-cultural constraints. Traditional ways of interpretation have been dominated by the transference of linguistic interpretation to the non-linguistic. At the same time, traditional linguistically focused interpretation is heavily laden with orthodox value systems. This makes the body a secondary phenomenon. In many art forms, however, the body is primary and yet transient. This requires a reversal of traditional approaches. Recent liminal performances (...) have attempted to offer a non-verbal critique of both that linguistic dominance and such value orthodoxy. Unless the immediacy of the body, including corporeal readings (visual, tactile, haptic, olfactory, gustatory, kinetic, proximic, etc.) is made the focus of interpretation, such recent experimental genres as Viennese Actionism, Tanztheater, digitized music, high-definition television and its filmic consequences, cannot be appreciated. However, I suggest it would be a mistake to read their presentations of the immediacy of the body as an escape from representation altogether. Rather, what we are dealing with here is a radical transvaluation of corporeality. The article questions some recent theories from this perspective, using selected excerpts from liminal performances to illustrate this critique. (shrink)

Developmental and clinical psychological findings on infancy over the past twenty years and more refute in striking ways both Piaget's and Lacan's negative characterizations of infants. Piaget's thesis is that the infant has an undifferentiated sense of self; Lacan's thesis is that the infant is no more than a fragmented piece of goods — a corps morcelé. Through an examination of recent and notable analyses of infancy by infant psychiatrist Daniel Stern, this paper highlights important features within the radically different (...) accounts. In particular, it examines Stern's account of self-agency —a facet of the core self. In doing so, the paper brings to light corporeal matters of fact and shows :how recent developmental-clinical data on infants accord with facets of bodily life described by Husserl. The paper contrasts these corporeal matters of fact and facets of bodily life with Piaget's and Lacan's notion of an infant as incompetent and deficient. On the basis of its empirical-phenomenological findings, the paper underscores the need to recognize the richness of nonverbal life and to give movement and the tactile-kinesthetic body their conceptual due. (shrink)

As its title indicates, this article shows animation to be the fundamental, essential, and properly descriptive concept to understandings of animate life. A critical and constructive path is taken toward an illumination of these threefold dimensions of animation. The article is critical in its attention to a central linguistic formulation in cognitive neuroscience, namely, enaction ; it is constructive in setting forth an analysis of affectivity as exemplar of a staple of animate life, elucidating its biological and existential foundations in (...) animation. (shrink)

This study investigated the factorial validity of the 58-item Corporate Ethical Virtues scale :923–947, 2008). The major aim was to test the invariance of the factor structure across different organizational samples. The CEV scale was designed to measure eight corporate virtues: clarity, congruency of supervisors, congruency of senior management, feasibility, supportability, transparency, discussability, and sanctionability. The data consisted of four organizational samples that are operated in the private and public sector. The results of confirmatory factor analyses supported the hypothesized eight-factor (...) structure, as well as its alternative second-order factor structure, where high correlations between the first-order factors were explained by a general CEV factor. These factor structures remained the same across samples, lending strong support for the group invariance assumption of the scale. Thus, the 58-item CEV scale was found to be a valid tool for measuring the aspect of ethical organizational culture in different organizations, and its use can be recommended for future research. (shrink)

So far, the field of business ethics lacks validated measures for assessing virtues at the organizational level. The aim of this study is to investigate the measurement invariance of a shortened Corporate Ethical Virtues scale. In this manner, we contribute to validating an instrument that is both psychometrically sound and efficient to use. We conducted two survey studies of two independent groups (managers and school psychologists). Confirmatory factor analysis supported the eight‐factor model of the scale, and we found it to (...) be invariant in two different occupational groups. The managers gave higher appraisals of ethical culture than the psychologists did in seven out of the eight dimensions. We found that despite the contextual differences, the shortened scale measures the eight dimensions of organizational ethical virtues, as intended. Thus, the use of this more compact scale can be recommended for future studies, which will hopefully stimulate more research on ethical culture in various work contexts. (shrink)

Jeder Wahrnehmung liegen Kinästhesen zugrunde, doch tritt die Bewegung am deutlichsten im Tasten hervor. Untersucht wird hier die phänomenologische Auffassung vom Zusammenhang zwischen Tasten und Kinästhesen bei Husserl und Erwin Straus, im Vergleich zu der Tanzwissenschaft . Diese Interpretation wird teilweise durch andere Perspektiven ergänzt, die aus der pränatalen Anthropologie, Psychiatrie und den Ingenieurwissenschaften stammen. Das Vorbild ist bei Husserl die mechanische Bewegung zu Erkenntniszwecken; Straus entdeckt die Tierwelt und ihre appetitiven Bewegungen. Keine von diesen Analysen entspricht völlig dem Phänomen (...) des Tanzes als Ausdruck der propriozeptiv empfundenen Harmonie zwischen dem Leib und seiner Welt. (shrink)

The idea that choreographic movements communicate to audiences by kinetic transfer is a commonplace among choreographers, dancers, and dance educators.1 Moreover, most dance lovers can cite their own favorite examples—the bounciness of the Royal Danish Ballet, the stomping of Bharata Natyam performers, the stag leaps in the thundering Greek chorus in Martha Graham’s Night Journey, or the contagious rhythmic transfer that takes over our feet when we watch classic tap dancers like Buster Brown. The perceptual capacity for kinetic (...) transfer was succinctly identified and theorized by John Martin. He called this capacity metakinesis. Martin was influenced by Theodor Lipps’s earlier theory of empathy. Lipps introduced his notion of empathy as a way to characterize our muscular responses to the perceived internal dynamics of inanimate objects under stress and tension, for example, weight-bearing columns and cantilevered boulders. Martin argued analogously about dance. -/- In what follows, we explore and evaluate three general challenges to the existence and significance of kinetic transfer in dance: challenges to the very possibility of kinesthetic understanding in dance, questions about the relevance of kinetic transfer to explanations of artistic communication in dance, and concerns about the relevance of kinetic transfer to evaluative questions germane to dance appreciation. We do not subscribe to every aspect of Martin’s story. Nevertheless, we think that Martin was exceedingly prescient. His speculations appear to be supported by recent research in neuroscience and psychology.We feel as a result that Martin’s comments are highly suggestive of what might be going on in ordinary dance consumers (or at least moderately informed ones). Critically, however, we do not model these contributions in terms of a discrete, stand-alone kinesthetic sense as Martin did. Rather, we argue that metakinesis and kinetic transfer refer to a general crossmodal sensorimotor perceptual capacity that contributes to our understanding and experience of actions in everyday contexts. Nor do we claim that audiences recognize and understand dance solely on the basis of kinetic transfer. Rather, we argue that this sensorimotor capacity is a contributing factor in our perceptual engagement with dance works, one of a range of tools ready to hand to choreographers and dancers for conveying information critical to the content of their works. (shrink)

In this research, we shed new light on the empirical link between corporate social performance (CSP) and corporate financial performance (CFP) via the application of empirical models and methods new to the CSP–CFP literature. Applying advanced financial models to a uniquely constructed panel dataset, we demonstrate that a significant overall CSP–CFP relationship exists and that this relationship is, in part, conditioned on firms’ industry-specific context. To accommodate the estimation of time-invariant industry and industry-interaction effects, we estimate linear mixed models in (...) our test of the CSP–CFP relationship. Our results show both a significant overall CSP effect as well as significant industry effects between CSP and CFP. In conflict with expectations, the unweighted average effect of CSP on CFP is negative. Our industry analysis, however, shows that in over 17% of the industries in our sample, the effect of CSP on CFP for socially responsible firms is positive. We also examine the multidimensional nature of the CSP construct in an industry context by exploring the CSP dimension–industry nexus and identify dimensions of social performance that are associated with either better or worse financial performance. Our results confirm the existence of disparate CSP dimension–industry effects on CFP, thus our results provide important and actionable information to decision makers considering whether and how to commit corporate resources to social performance. (shrink)

Animation is by definition the basis of animate life. Movement is thus of prime significance and its dynamics warrant close study in terms of the tactile-kinaesthetic body, its relation to cognition and affectivity, and its anchorage in ontogeny and phylogeny. Riveted attention on the brain deflects attention from animate movement, as does the degeneration of movement into a motorology and the extensive and broadly indiscriminate use of the lexical band-aid of embodiment and its derivatives. Critical attention is paid to (...) just such present-day practices in neuroscience, and in cognitive science and philosophy, practices that, by impeding investigations of the tactilekinaesthetic body, impede understandings of how kinaesthetic experience is at the core of those synergies of meaningful movement that constitute animate life. (shrink)

In relativistic classical and quantum mechanics with Poincaré-invariant parameter, particle worldlines are traced out by the evolution of spacetime events. The formulation of a covariant canonical framework for the evolving events leads to a dynamical theory in which mass conservation is demoted from a priori constraint to the status of conserved Noether current for a certain class of interactions. In pre-Maxwell electrodynamics—the local gauge theory associated with this framework —events induce five local off-shell fields, which mediate interactions between instantaneous events, (...) not between the worldlines which represent entire particle histories. The fifth field, required to compensate for dependence of gauge transformations on the evolution parameter, enables the exchange of mass between particles and fields. In the equilibrium limit, these pre-Maxwell fields are pushed onto the zero-mass shell, but during interactions there is no mechanism regulating the mass that photons may acquire, even when event trajectories evolve far into the spacelike region. This feature of the off-shell formalism requires the application of some ad hoc mechanism for controlling the photon mass in two opposite physical domains: the low energy motion of a charged event in classical Coulomb scattering, and the renormalization of off-shell quantum electrodynamics. In this paper, we discuss a nonlocal, higher derivative correction to the photon kinetic term, which provides regulation of the photon mass in a manner which preserves the gauge invariance and Poincaré covariance of the original theory. We demonstrate that the inclusion of this term is equivalent to an earlier solution to the classical Coulomb problem, and that the resulting quantum field theory is renormalized. (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)

Este artículo explora la gestualidad multisensorial, háptica y motriz como forma de habitar las atmósferas. Contribuye al desarrollo de epistemologías relacionales sobre la dimensión corporal, al abordar la experiencia corporeizada vivida con entornos aéreos, materiales, ecológicos y sociales, en lugar de centrarse en el significado conceptual y semántico para su explicación. El marco conceptual, se basa en la teoría de las affordances, las ciencias cognitivas enactivas y la fenomenología, que ofrecen una vía para configurar la interacción piel-atmósfera. Consideramos la unidad (...) organismo-entorno y lo que en la literatura se identifica con el concepto de atmósfera sonora. Se introduce la noción de affordances multisensoriales y hápticas como encuentro sensual y atencional de la presencia, para argumentar que tanto el enfoque contemporáneo del cuerpo háptico y gestual con posibilidades afectivas y de movimiento, como la perspectiva estética y ecológico-social de la performatividad -aunque conceptualmente útiles-, pasan por alto la existencia de una fenomenología háptica del reino sensual de las atmósferas. Así, se describe el entrelazamiento de las experiencias sensibles y estéticas con territorios sonoros habitados desde la experiencia táctil. Se discute cómo lo sonoro y la materialidad se utilizan para vivir experiencias particulares del espacio dentro de uno específico: la instalación arpa de fricción. Finalmente, con base en la distinción entre la sensibilidad y la consciencia, se orienta hacia una pedagogía de experiencias háptico-sonoras durante procesos de aprendizaje, útil en contextos de educación corporeizada, estética y crítica. Y se ofrece un lugar para imaginar y escenificar este tipo de entornos de aprendizaje de una manera deliberada, con cualidades permeables, inmersivas, afectivas y colectivas, para acompañar en la co-creación de mundos alternativos. (shrink)

Abstract:This article explores the representation of human‒animal interaction in D. H. Lawrence's poems "Bat" and "Man and Bat." Many influential critics interpret the poems as emphasizing the lack of connection, hospitality, and empathy between the poet and the bats, focusing on the relentless objectification of the animals and the poet's negative attitude towards them. We argue, however, that these poems can also invite different types of readings, by investigating the ways in which Lawrence employs perceptual and kinetic imagery to (...) create a certain degree of embodied, kinesthetic empathy with the bats. Using theoretical and methodological frameworks from cognitive-literary approaches to kinesthesia and human‒animal studies, we analyze Lawrence's multilayered poetic rendition of human‒animal interaction, to understand how the poet stages the tension between the symbolic/cultural connotations associated with bats and humans' perception of their embodied, affective, and kinetic being. (shrink)

The strategies of action employed by a human subject in order to perceive simple 2-D forms on the basis of tactile sensory feedback have been modelled by an explicit computer algorithm. The modelling process has been constrained and informed by the capacity of human subjects both to consciously describe their own strategies, and to apply explicit strategies; thus, the strategies effectively employed by the human subject have been influenced by the modelling process itself. On this basis, good qualitative and (...) semi-quantitative agreement has been achieved between the trajectories produced by a human subject, and the traces produced by a computer algorithm. The advantage of this reciprocal modelling option, besides facilitating agreement between the algorithm and the empirically observed trajectories, is that the theoretical model provides an explanation, and not just a description, of the active perception of the human subject. (shrink)

Contemporary European theories have focused attention on corporeity, its surface excitations and passions, and even on politically constructed bodies – how do men and women “carry their bodies”. The great variety of such claims suggests transformations in theoretical thinking, yet such changes were already articulated at another level by phenomenological studies: kinesthetic body. It is obvious that to speak of corporeity is possible only on the basis of analyses of corporeal movements. Thus, the aim of this essay is (...) to disclose the structures of bodily movements, constituting the basis of primordial awareness – not “I think” but “I can”. In the essay there are presented a number of theses of post modernists who have not developed adequate analyses of corporeal movements. (shrink)

HISTORIANS of psychology are almost unanimously agreed on one point: that psychology is a relatively new science. There may be some disagreement as to when it started--with Weber, or Fechner, or Wundt, or James--but there is almost no dissent from the proposition that psychology as a scientific discipline is less than one and one-half centuries old. Many earlier writers are often discussed in histories of psychology, but invariably they are called speculators, or philosophers, as opposed to scientists. We believe that (...) this is an incorrect appraisal of the career of psychological research. To demonstrate our point, we propose to show how one key psychological idea from Descartes' work has had an extensive and robust scientific history. If it is true that this Cartesian idea has had great influence in science, then many claims concerning the history of psychology will need to be reconsidered. Not everything which happened in psychology prior to the nineteenth century was speculative, nor is everything which happened later scientific. Even more importantly, if Descartes' idea has been of such central concern to several hundred years of research, it must be treated as an important claim about the way the world is, as a law of nature. (shrink)

South Africa is a country that is still in the transitioning process of providing an equal, equitable and just society for its previously disadvantaged people. The country faces several socio-economic developmental challenges, ranging from inadequate housing, high crime rates, violence against women and children, ineffectual health facilities, a slowing economy and high youth unemployment, which invariably affect the business community. If South Africa is to achieve sustainable economic transformation, the business community along with other stakeholders must participate in ensuring social (...) justice and socio-economic development for its previously disadvantaged people. This article contributed to the discourse on the assertion that social justice and socio-economic development are central for sustainable development in any society. The article called for the assistance and participation of other stakeholders, particularly the business community, to help build a just, healthy and robust environment, which translates into a strong community and portends a sustainable environment for businesses. Contribution: This article assessed the effectiveness of legislating social justice and corporate social responsibility. The article adopted the European Union’s Better Regulation evaluation methods to evaluate the effectiveness of the country’s social justice and corporate social responsibility legislation and the influence of the legislations on the socio-economic developmental challenges affecting the country. (shrink)

This study explores the cognitive and corporeal aspects of choreography as a means of expressing the human subconscious. Recent interdisciplinary research, including studies of somatic intelligence and mirror neurons, suggests that dance can influence human cognitive abilities through psychosomatics. Mirror neurons allow for kinesthetic empathy, enabling dance observers to experience movements, emotions, and experiences as their own. The authors argue that dance, which engages multiple aspects of a person, is a crucial tool for educating the younger generation and (...) should be included in compulsory education programs, rather than just as extracurricular activities. (shrink)

In this paper, I show that, although Husserl explicitly explains a kinetic theory of Leib already in § 83 of Raum und Ding, a real phenomenology of the distinction between Leib (living body) and Körper (corporeal object) is not conceivable without Scheler's contribution. It’s quite common to search for the origin of this distinction in Ideen II, in a work composed of texts written in different moments from 1912 on. Before 1912 Husserl dedicated himself to the theme of (...) corporeality in the first part of Göttinger Vorlesungen 1904/1905 as well as in the lectures in the Sommersemester of 1907 titled Ding und Raum [Hua XVI]. Both lectures, however, lack an explicit analysis on the distinction between Leib and Körper. Scheler instead mentions it already in an unpublished text from 1908/1909 and fully develops it in the years 1911 and 1912, where the issue is explored in a more organic and radical way than in the writings of Husserl. -/- In diesem Beitrag möchte ich darauf hinweisen, dass, obwohl Husserl bereits in § 83 von Raum und Ding eine kinetische Theorie von Leib erklärt, eine reale Phänomenologie der Unterscheidung zwischen Leib und Körper ohne Schelers Beitrag nicht denkbar wäre. Im Allgemeinen wird ihr Ursprung in den Ideen II festgestellt, einer Schrift, die aus den Texten verschiedener Zeiten nach 1912 besteht. Vor 1912 widmet sich Husserl dem Thema der Körperlichkeit in dem ersten Teil der Göttinger Vorlesungen 1904/1905 sowie in den Vorlesungen aus dem Sommersemester 1907 über Ding und Raum [Hua XVI]. In beiden Vorlesungen fehlt jedoch eine explizite Untersuchung zum Unterschied zwischen Leib und Körper. Bei Scheler hingegen ist sie bereits in einem Nachlasstext aus 1908/1909 auffindbar und wird in den Jahren 1911 und 1912 sehr ausführlich entfaltet. Die Auseinandersetzung mit dieser Thematik erfolgt bei ihm viel organischer und eingehender als bei Husserl. -/- In questo scritto dimostro che, sebbene Husserl espliciti una teoria cinetica del Leib già nel § 83 di Raum und Ding, una vera e propria fenomenologia della distinzione fra Leib (corpo vivente) e Körper (oggetto corporeo) è inconcepibile senza il contributo di Scheler. Generalmente tale distinzione viene ricondotta a Idee II, un testo che è il risultato di diverse versioni composte a partire dal 1912. Prima del 1912 Husserl si dedica al tema della corporeità nella prima parte delle Göttinger Vorlesungen del 1904/5, e nelle lezioni del Sommersemester del 1907 dedicate a Ding und Raum [Hua XVI]. In entrambi questi testi manca però un’analisi esplicita sulla differenza fra Leib e Körper. In Scheler invece tale distinzione è già rintracciabile in un inedito del 1908/09 per poi essere pienamente esplicitata nel biennio 1911-1912, dove è presente un’elaborazione di questa tematica ben più organica e radicale rispetto a quella presente negli scritti di Husserl. (shrink)

The subject of this research is the theoretical works of Bernard Tschumi. The goal is to determine the place of the problem of corporeal experience in the theory of architecture of developed by the Swiss architect. For achieving the set goal, the author examines the key themes of his works – the question of boundaries and limits of architecture, architecture as the place of occurrence of the event; as well as a number of concepts – “pleasure”, “limits”, “violence”. The (...) texts created by Bernard Tschumi over the period from 1977 to 1981: “The Pleasure of Architecture”, the article “Violence of Architecture”, and a series of essays “Architecture and Limits” served as the sources for this analysis. B. Tschumi did not dedicate works to the problem of corporeal experience alone; however, addresses this problem in the context of interaction between the audience and the building. His attention is focused on the viewer’s sensory experiences emerging in direct contact with the architectural object. On the one hand, this apposes B. Tschumi with the representatives of the phenomenology of architecture – S. Hall and J. Pallasmaa; all of them emphasizes the kinesthetic, nonverbal nature of corporeal experience in the perception of structures, their internal space and materials. On the other hand, B. Tschumi describes the relations between the body and the building as violent. Violence in the relations between man and architecture is ubiquitous: it is the interference of of a person into the architectural space, as well as feeling of discomfort provoked by the architectural space. (shrink)

A large body of the literature on sustainability indicators, assessments and reporting is currently available. However, sustainability performance measurement systems have an insubstantial presence in the literature. Invariably, a sustainability performance measurement system presents the potential for certain trade-offs or opportunity costs for organizations. Extant sustainability platforms and standards are largely silent about how to deal with trade-offs. Utilizing evidence from the literature, as well as contingency factors, this paper seeks to present a heuristic model for establishing trade-offs in corporate (...) sustainability performance measurement systems. Trade-offs in this area revolve around performance measurement, stakeholder management, competitive advantage, as well as the vertical and horizontal integration of the performance platform. This is particularly important for organizations seeking to establish, integrate or expand their environmental management systems into the area of sustainability. As yet, formalistic attempts to deal with trade-offs in sustainability performance measurement systems are infrequent and vague. (shrink)

The problem of the research was represented by the lack of interest of many teachers in the use of diversification and change in various exercises, despite the positive role it plays in generalizing the motor program for any fencing skill, even though most of its skills are characterized by difficulty in performing them, which requires providing the largest number of motor programs in order to be The learner has full readiness and preparedness, and the research aims to prepare various exercises (...) to develop sensory perception and accuracy in performing complex attack skills and the stabbing movement. And to identify the effect of various exercises in developing the students’ kinetic awareness and accuracy of combined attack skills and stabbing movements in fencing. Use the researcherthatThe experimental approach with two equal groups. The research sample represented the students of the third stage of the Department of Physical Education and Sports Sciences at the Islamic University for the academic year 2022-2023 AD, and they numbered (50) students. They were selected by a simple random method, and were divided into two groups (experimental and control), and the number of each group was (25). ) student. The experimental group applied the various exercises prepared by the researcherthatAccording to the stages of building the motor program for learning epee skills in fencing, it was included among the educational units approved in colleges of physical education for third-year students, at the rate of one educational unit per week, amounting to (6) educational units. The time of the educational unit was (90/min), and the time of the educational unit was divided into the preparatory section. (15/d), the main section (65/d), and the final section (10/d). The most important conclusions were that there was a significant effect of the various exercises in developing sensory-motor perception and accuracy of performance in learning fencing skills. The most important recommendations are the need to pay attention to various exercises during educational units because they help learners expand their educational awareness and thus reflect on their performance of skills. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Effecting AffectionThe Corporeal Ethics of Gins and ArakawaGordon C. F. Bearn (bio)No one has yet determined what the body can do …—Spinoza, Ethics, 1677, Part III, proposition 2, ScholiumWhat could be the educational relevance of an architecture designed to make its inhabitants live forever? At first, it is hard to take seriously that Madeline Gins and Arakawa, in their work Architectural Body, are trying to escape mortality. Many (...) are those who smile and say that what they call "the architectural surrounds" that they have designed and built for what they call "organisms that person" are intriguing enough, but this idea of slipping death's grip… Really. They say. Hmmm. And they clear their throats. But is it really that unusual to think that what inspires philosophical thinking is death? And insofar as death has inspired philosophy, hasn't it inspired escape—and if not escape from death itself then at least escape from its terrors? Plato's Phaedo is an early instance of this, and Wittgenstein's Tractatus is a more recent one, no less explicit in its discussion of death. Gins and Arakawa are therefore part of a long and traditional line of philosophers who's thinking never quite loses sight of death. But why are philosophers concerned with death?The reason is simple. By and large, philosophers don't like it here. They would rather be somewhere else. And what don't they like about it here? Often, almost invariably, it is becoming that bothers them. Becoming. And they don't like becoming both for existential and metaphysical reasons. Existentially, "becoming" means change. Today's friends may betray you tomorrow, or the next day. And even if they don't, they will die. And be gone. You too. Soon enough. Dead. Existentially, change and becoming ruin everything we care about—people and projects. Metaphysically, "becoming" is a threat to the dream of understanding, the dream of forming a precise [End Page 40] picture of the world. I learned this from the opening pages of Deleuze's Logic of Sense. On top of the cake, beautifully marked in currants, are the words "EAT ME," and Alice did. She ate the cake and grew taller. And what, you may wonder, is the problem with that? It happens at children's parties every day, even after eating normal cake.Common sense assumes that at any moment Alice will be a certain height, and that as the moments pass her height will increase. But this is just as if we had taken an egg-slicer to her becoming taller, turning becoming into a succession of unchanging slices of being. This egg-sliced reality is good enough for ordinary work, and it is good enough, by means of the calculus, for science and for physics. But it is not good enough for metaphysics. If at a given moment Alice is really becoming taller, then at that moment, while she is becoming, she must paradoxically be both a definite height h, and also not h. If there is becoming, then the world cannot be completely conceptually represented. And if everything is becoming, then nothing can be conceptually represented. That is the metaphysical difficulty with becoming, and so philosophers run from becoming. They run both from death and from what is beyond representation.They tend to go in either of two directions. Up or down. Either up to eternity if you are drawn to the transcendent, or down to the rough ground, the earth, if you are drawn to the ordinary. In either case, the negation implicit in becoming, whether it is the negation of life or the negation of our dreams of conceptual representation, both of these negations are themselves negated. It is the old philosophical gambit: backing by double negation into an ersatz affirmation. Gins and Arakawa join neither of these two ways of escaping becoming. But first let us see why these two negations are disappointing.Take the way up first. This is famously the technique of Plato's Phaedo. Worried that your lover or your mother or you yourself is going to die, Plato's Socrates carves out room for the eternity of the form of human... (shrink)

This paper examines the relationship between turnover among chief executive officers and corporate sustainability performance by identifying the influence of two major types of succession to the top job and the reasons for change. Our model also integrates the firm’s past prioritization of CSP and the impact of a company’s participation in the Global Reporting Initiative. Upper echelons theory and agency theory frameworks are adopted to understand CSP. Using an analysis of panel data for 88 public companies across 13 years (...) in France, we find that a change of chief executive has a positive and significant effect on CSP 5 years after the change. This positive effect is stronger when the new CEO is recruited from outside the firm. The impact on CSP is invariably positive and significant, except for voluntary departures. The arrival of a new CEO affects CSP less when the firm has already achieved a high standard of CSP and participates in the GRI. These results are obtained after controlling CSP determinants already validated in the literature. The findings show that expectations of CEOs are not solely economic and financial but also concern CSP. In terms of governance, they should prompt shareholders looking to strengthen CSP to choose new CEOs from outside the firm and to encourage the firm to participate in the GRI. (shrink)

Este trabajo presenta una discusión sobre el desarrollo de la expresión corporal como uno de los medios de fomentar la desinhibición, la percepción del propio cuerpo en el espacio en que están los demás y, consecuentemente, produ-ce la motivación y promueve la creatividad. En la clase de lengua extranjera se puede lograr este desarrollo a través de juegos, danza y actividades que permitan el contacto con el otro. De esa manera, a partir de algunas cuestiones que plantea la teoría del (...) desarrollo cognitivo al tratar del estudio de procesos tales como lenguaje, percepción, memoria, razonamiento y resolución de problema, y de algunas discusiones de la teoría de las inteligencias múltiples de Gardner (1994), específica-mente acerca de la inteligencia corporal-cenestésica, se analizará cómo el trabajo con la expresión corporal puede ayudar en el desarrollo de las capacidades del estudiante y fomentar su creatividad y su proceso de adquisición y de aprendizaje en clase, concretamente, en la clase de lengua extranjera. Además de la inteligencia corporal-cenestésica, Gardner propone que cada persona tiene, por lo menos, ocho inteligencias o habilidades cognitivas más que trabajan juntas, pero como entidades autónomas que requieren interacción. El autor asume que todas las inteligencias son igualmente importantes, aunque cada sujeto presenta una inteligencia más desarrollada que otra según el escenario cultural en el que se inserta, lo que explicaría, en cierta medida, por qué las personas aprenden de diferentes maneras, es decir, de acuerdo con sus habilidades. Sin embar-go, aunque todas las inteligencias son igualmente importantes, nuestro sistema escolar suele enfatizar la inteligencia lógico-matemática y la inteligencia lingüística hasta el punto de, en algunos casos, negar la existencia de las demás. Así, se debe pensar la educación desde un punto de vista que considera las distintas formas de aprender y, en el caso específico de la enseñanza y del aprendizaje de lenguas extranjeras, se debe adoptar un “abordaje plural de la cognición” y no “unilineal” contrario al de muchos autores que trataron el desarrollo humano. (shrink)

This article concerns kime, a somatic code used in the ‘empty hand’ Japanese martial art of karate. Kime is a tactile-kinesthetic entity born out of practice, coming into being in a social setting through the specific organization of the body-self, fusing body and self into one stance and movement. Kime is entirely embodied, yet can only be operated and recognized inter-subjectively. It plays a crucial role in combat and at the same time also indicates a spiritual possibility that (...) depends on eradication of emotion and volition. An analysis of kime shows how cultural understandings can emerge without necessarily using symbolic representations or verbal discourse in their construction. These somatic non-dual understandings can come to form an entire world-of-meaning directly through the moving body. The moving body shapes itself within itself even as it interacts with and contributes to shape its immediate environment. This is a world-of-meaning that includes complex inter-subjectivity founded on the speed and ambiguity of the interface between the innerness and the outerness of the body. (shrink)

This chapter examines phenomena of aesthetic experience and aesthetic creativity in terms of a qualitative dynamics of movement. It notes the lack of consideration of the foundational role of movement in human and other activity, and the need for thorough description of kinetic-tactile and kinaesthetic experience. It recommends the importance of phenomenological methods to achieve this task and outlines an application of such methods to phenomena of aesthetic creativity.

Digital reading devices such as Kindle differ from paper books with respect to the kinesthetic and tactile feedback provided to the reader, but the role of these features in reading is rarely studied empirically. This experiment compares reading of a long text on Kindle DX and in print. Fifty participants (24 years old) read a 28 page (approx. one hour reading time) long mystery story on Kindle or in a print pocket book and completed several tests measuring various (...) levels of reading comprehension: engagement, recall, capacities to locate events in the text and reconstructing the plot of the story. Results showed that in most tests subjects performed identically whatever the reading medium. However, on measures related to chronology and temporality, those who had read in the print pocket book, performed better than those who had read on a Kindle. It is concluded that, basically comprehension was similar with both media, but, because kinesthetic feedback is less informative with kindle, readers were not as efficient to locate events in the space of the text and hence in the temporality of the story. We suggest that, to get a correct spatial representation of the text and consequently a coherent temporal organization of the story, readers would be reliant on the sensorimotor cues which are afforded by the manipulation of the book. (shrink)

Human infants begin very early in life to take advantage of multisensory information by extracting the invariant amodal information that is conveyed redundantly by multiple senses. Here we addressed the question as to whether infants can bind multisensory moving stimuli, and whether this occurs even if the motion produced by the stimuli is only illusory. Three- to four-month-old infants were presented with two bimodal pairings: visuo-tactile and audio-visual. Visuo-tactile pairings consisted of apparently vertically moving bars (the Barber Pole (...) illusion) moving in either the same or opposite direction with a concurrent tactile stimulus consisting of strokes given on the infant’s back. Audio-visual pairings consisted of the Barber Pole illusion in its visual and auditory version, the latter giving the impression of a continuous rising or ascending pitch. We found that infants were able to discriminate congruently (same direction) vs. incongruently moving (opposite direction) pairs irrespective of modality (Experiment 1). Importantly, we also found that congruently moving visuo-tactile and audio-visual stimuli were preferred over incongruently moving bimodal stimuli (Experiment 2). Our findings suggest that very young infants are able to extract motion as amodal component and use it to match stimuli that only apparently move in the same direction. (shrink)

In this article, I focus on the problem of body as it is developed in Heidegger’s Zollikon Seminars, in contrast with its enigmatic concealment in Being and Time. In the first part, I emphasize the implicit connection of Heidegger’s approach of body with Husserl’s problematic of Leib and Körper, and with his phenomenological analyses of tactility. In the second part, I focus on Heidegger’s distinction between the limits of the lived body and the limits of the corresponding corporeal thing, (...) opening to an ontological understanding of the ecstatic bodying forth of the body. In the third part, I analyse this ecstatic bodiliness in relation to the problem of spatiality, exploring the tension between the here and the over there in the experience of the embodiment. Heidegger not only refuses to understand the space starting from the here of the body, but he also refuses to understand the body starting from the here of the space. Thus, there are two interconnected inversions that Heidegger operates in relation to Husserl: In the topic of spatiality, he rejects the pre-eminence of the here; in relation to the body, he contests the primacy of tactility. Finally, the conclusion stresses that, even if the bodying forth penetrates almost all behaviour of Dasein in the world, there is however a limit of embodiment, an unreachable frontier beyond any possibility of the bodying forth, namely the understanding of being. This also implies that the problem of body needs be understood in the context of the ontological difference. (shrink)

There is no corporal philosophy at the level of other philosophical subdisciplines. A research line has begun whose ultimate goal is to determine whether a somatic philosophy can be built. From a pragmatist and biopolitical approach, the present study investigated why it has not been possible to develop grounded somatic philosophy. As an answer, the “idealist–dualist episteme” is described, which encompasses invariants in the history of idealist philosophy at the ontological, gnoseological, ethical–political, and pedagogical levels. These constants reflect somatophobia, (...) as well as an ontological and gnoseological disregard of the body, which has led to the irrelevance of the body and corporeality in philosophy until the arrival of the “bodily turn”. The critique of this prevailing idealism and dualism will enable a review of current approaches based on these positions, such as embodiment, enactivism, embodied cognition, or embodied artificial intelligence. It opens up a new philosophical line with a universalis scope that is open to the eclectic construction of a pragmatic corporal philosophy that takes into account Chinese, Japanese, or African philosophies. (shrink)

This article highlights a neglected, if not wholly overlooked, topic in phenomenology, a topic central to Husserl’s writings on animate organism, namely, animation. Though Husserl did not explore animation to the fullest in his descriptions of animate organism, his texts are integral to the task of fathoming animation. The article’s introduction focuses on seminal aspects of animate organisms found within several such texts and elaborates their significance for a phenomenological understanding of animation. The article furthermore highlights Husserl’s pointed recognition of (...) “the problem of movement,” movement being an essential dimension of animation if not definitive of animation itself. Succeeding sections testify to “the problem of movement” and the need to address it. They do so by answering the following basic questions: What indeed is livingly present in the experience of movement, whether our own movement and the movement of other animate beings, or the movement of leaves, clouds, and so on? What distinguishes kinesthetic from kinetic experiences of movement? How are movement and time related? Just what is the problem of movement and how do we address it? In what way is movement pertinent to receptivity and responsivity? Throughout these sections the article encompasses phenomenological analyses, elaborations, and implications of animation. (shrink)

In this study, we developed a model of unethical behavior intentions, collected data from managers of the private (n = 208) and the public (n = 307) sectors in the Republic of Macedonia, and tested our model across these two sectors. Results suggested that for both sectors, unethical behavior intentions were not related to the love of money and corporate ethical values, whereas irritation was negatively related to life satisfaction. Moreover, corporate ethical values were related to life satisfaction for the (...) private sector only, whereas the love of money and unethical behavior intentions were related to irritation for the public sector only. Managers in the private sector had higher corporate ethical values, lower unethical behavior intentions, lower irritation, and higher life satisfaction than those in the public sector. There was no difference in the love of money. There were more bad apples in the public sector (34.85%) than in the private sector (23.56%). The strongest factor of unethical behavior intentions in the private and the public sectors was theft and corruption, respectively. Finally, for the culture-free (etic) model, the love of money was positively related to irritation. Corporate ethical values had a positive "double-whammy" effect: reducing irritation and enhancing life satisfaction. Unethical behavior intentions were positively related to irritation (a mediator), which was negatively related to life satisfaction. Our theory provides new insights regarding doing business in the Republic of Macedonia. (shrink)

This study is an examination of gardens from the perspective of philosophy of art. Since gardens combine natural and constructed elements, utilize both existing and newly created environments, and engage visual, auditory, tactile, olfactory and kinesthetic senses, they provide an opportunity to explore the concept of art and to test the boundaries, usefulness, and general validity of the concept of art. ;In many cultures, gardens are works of art on a par with painting, architecture, and poetry. Twentieth-century Western (...) philosophies of art, however, ignore gardens completely. This study locates the reasons for this dismissal in theoretically generated preferences for arts which are unique and permanent, with a single final form, and under the control of one artist. Since gardens change constantly and involve interaction with nature rather than the simple assertion of the artist's control, they prove awkward for such theories. Moreover, since they are environments, gardens do not function as aesthetic objects, and violate the Kantian principle of aesthetic disinterest. This work considers several versions of disinterest with reference to gardens and other arts, and concludes that disinterest is neither specific to art nor adequate to its power to affect thought, feeling and action. In this light it is the theory which is inadequate to the full range of arts, including gardens. ;Relying on Cassirer's theory of symbolic forms and Langer's notions of significant form and semblance, the study turns to the question of the garden as "great art," that is, art with "significant human content." As vehicles for structuring thought, art in general and gardens in particular differ from language in important ways, and thus bear unique capacities for signification. In one case study, Renaissance knot gardens are shown to have had an important role in the clarification and dissemination of the newly-emerging scientific conception of space. (shrink)

Salsa dancing, a partnered dance premised on the felt sense of connection, is well suited to an exploration of Henry’s radical phenomenology of immanence and Heidegger’s facticity of life. Birthed in social celebratory contexts, salsa carries a particular motile freedom. What matters most is not how the dance movements are created from an outer frame of reference, but the experience of interactive responsiveness that emerges from unanticipated acts of giving life to another. Connecting to one’s partner and exuding a presence (...) filled with life is revealed in an indepth interview with two-time world champion salsa dancer, judge, choreographer and coach, Anya Katsevman. This interview attempts to invoke the kinetic, kinesthetic and affective registers of the lividness and livingness of salsa dancing. As a phenomenological inquiry into factical life, the inter-view is presented not so much as a matter of shared perspectives or viewpoints, but more in the way of an inter-feeling, a practice of life engagement. This affectively-oriented approach provides both promise and challenge to the field of phenomenology. It invites us to delve more deeply into feeling acts of seeing. It also helps us understand how, through attending more fully to acts of seeing, we can increase the intensity with which we feel the upsurge of life. (shrink)

This article offers an analysis of embodied experiences and connections in social salsa dancing. Framed within a theoretical context that views bodily practices as both the enactment of normative ideals and as a negotiation of personal freedom against normative ideals, social salsa dancing offers a rich empirical context to explore how we make sense of our bodies, bodily practices, and embodied experience. Drawing on fieldwork conducted as part of a doctoral study in addition to a decade of personal experience, I (...) argue that social salsa dancing cultivates kinesthetic, tactile, and musical senses, and emphasizes the value of attentive embodied interactions and momentary connections with others. I conclude that exploring the possibilities of these interactions and connections offers a potentially emancipatory way of working on one’s embodied self. (shrink)

Language skirts the somatic fringes of the moment, particularly in practices where the powers of human speech and writing seem nullified. Horse training is one such practice. We tell stories of horse training that sensitize us and bring us close to creatures whose movements, resonating with our own, connect us to a prelinguistic, animate world. In so doing, we bridge the gap between the reflective detachment of our customary, wordy practices and the wordlessness of pre-reflective animality. Yet a phenomenological discursiveness (...) shows us how vital moments of “becoming animal” can be consciously and linguistically sustained. “Becoming horse in the duration of the moment” addresses the corporeally-charged consciousness of being with horses on the ground and in the saddle. This paper describes a relationality and temporality that, though mostly wordless in strictly human terms, speaks a sophisticated language of moment resonance. In so doing, it contests the dualisms of verbal and non-verbal discourses, the separation of humans and other animals, and the divisions that keep somaticity on the fringes of consciousness. It responds to the ecological challenge to get beyond the linguistic appropriation of the other, human speciesism and anthropomorphic projections, in order to discern the kinesthetic and energetic expressivities of connecting with other beings and with the elements of animate existence. Horse training provides a case for “living” in the somatic fullness of the moment. (shrink)

While interactions with other animate beings seem mostly to serve our own human interests, there are, at times, fugitive glimpses, passing contacts, momentary motions, and fleeting feelings of vital connection with other life forms. Life phenomenology attempts to realize these relational, interactive and intercorporeal possibilities. It challenges the language game of presuming the muteness and bruteness of non-human creatures and, at best, of speaking for them. It critiques the capture of non-human species within the inhibiting ring of human functions and (...) forms to reveal feelings and flows of interspecies commonality. It brings to expression the experiences of being moved to act and speak with others who do not share the human tongue. In part a critique of the logocentric, anthropocentric phenomenologies of intentionality, life phenomenology is more positively a means of coming to terms with the life-affirming kinetic, kinesthetic and affective dynamics of interspecies relationality. I take up the interrogation of this phenomenality, this humanimality, with the assistance of phenomenological scholarship that lends fuller credence to the experiences we have of moving in concert with other animate beings. In doing so, I aim to show the important insights that life phenomenology offers us in fostering not only greater appreciation of, responsivenss to and connection with other animals, but also in indicating the qualitative dynamics of relating with greater animate consciousness to one anotherof our own animal kind. (shrink)

In a recent study (Chen et al., 2018), we conducted a series of experiments that induced the “four-hand illusion”: using a head-mounted display (HMD), the participant adopted the experimenter’s first-person perspective (1PP) as if it was his/her own 1PP. The participant saw four hands via the HMD: the experimenter’s two hands from the adopted 1PP and the subject’s own two hands from the adopted third-person perspective (3PP). In the active four-hand condition, the participant tapped his/her index fingers, imitated by the (...) experimenter. Once all four hands acted synchronously and received synchronous tactile stimulations at the same time, many participants felt as if they owned two more hands. In this paper, we argue that there is a philosophical implication of this novel illusion. According to Merleau-Ponty (1945/1962) and Legrand (2010), one can experience one’s own body or body-part either as-object or as-subject but cannot experience it as both simultaneously, i.e., these two experiences are mutually exclusive. Call this view the Experiential Exclusion Thesis. We contend that a key component of the four-hand illusion—the subjective experience of the 1PP-hands that involved both “kinesthetic sense of movement” and “visual sense of movement” (the movement that the participant sees via the HMD)—provides an important counter-example against this thesis. We argue that it is possible for a healthy subject to experience the same body-part both as-subject and as-object simultaneously. Our goal is not to annihilate the distinction between body-as-object and body-as-subject, but to show that it is not as rigid as suggested by the phenomenologists. (shrink)

This essay focuses on how casuistry can become a useful technique of practical reasoning for the clinical ethicist or ethics consultant. Casuistry is defined, its relationship to rhetorical reasoning and its interpretation of cases, by employing three terms that, while they are not employed by the classical rhetoricians and casuists, conform, in a general way, to the features of their work. Those terms are (1) morphology, (2) taxonomy, (3) kinetics. The morphology of a case reveals the invariant structure of the (...) particular case whatever its contingent features, and also the invariant forms of argument relevant to any case of the same sort: these invariant features can be called topics. Taxonomy situates the instant case in a series of similar cases, allowing the similarities and differences between an instant case and a paradigm case to dictate the moral judgment about the instant case. This judgment is based, not merely on application of an ethical theory or principle, but upon the way in which circumstances and maxims appear in the morphology of the case itself and in comparison with other cases. Kinetics is an understanding of the way in which one case imparts a kind of moral movement to other cases, that is, different and sometimes unprecedented circumstances may move certain marginal or exceptional cases to the level of paradigm cases. In conclusion, casuistry is the exercise of prudential or practical reasoning in recognition of the relationship between maxims, circumstances and topics, as well as the relationship of paradigms to analogous cases. (shrink)

Socially responsible consumption reflects a consumer's political and ethical act. Its measurement is dependent on the socio-economic and cultural context. Consequently, measurement instruments reflecting various behaviour profiles of global consumers have been developed. This study employs a Latin-American-specific measurement instrument to compare socially responsible consumption behaviours in Colombia, Mexico and Peru, countries with the same cultural cluster, that is they reflect a set of values shaped by religion, family, a sense of authority and a nationalist bias in their cultural pattern. (...) The empirical test included confirmatory factorial analysis exercise, factorial invariance analysis and a contrast analysis of variance. The results for the three Latin American countries show the following. (i) The Mexican consumer, compared to the Peruvian and Colombian one, exhibits a stronger tendency to evaluate external practices of corporate social responsibility as a criterion of consumption. (ii) The rationality of the Mexican consumer is better in terms of consumption volume of products, resources and services. Finally, (iii) Peruvian and Mexican consumers (vs. Colombian consumers) exhibit a tendency to assess the responsible practices of companies in labour matters more as a consumption criterion. This study provides empirical evidence of the context-dependent nature of measuring socially responsible consumption. For practitioners, identifying consumer profiles based on the market context enables them to customise goods and services. Moreover, policymakers should implement a sustainable consumption agenda with public policy guidelines tailored to the specific context. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“An Equivocal Couple Overwhelmed by Life”A Phenomenological Analysis of PregnancySara HeinämaaTwo conceptions of human generativity prevail in contemporary feminist philosophy. First, several contributors argue that the experience of pregnancy, when analyzed by phenomenological tools, undermines several distinctions that are central to Western philosophy, most importantly the subject-object distinction and the self-other and own-alien distinctions. This line of argument was already outlined by Iris Marion Young in her influential essay (...) “Pregnant Embodiment: Subjectivity and Alienation” (1984). The other dominant argument is related to the first one, and it states that organic birth is the event that establishes the first experiential separation between the self and the other. On this understanding, the mother-fetus relation would not involve any relations between two corporeal selves; all such relations would be postnatal. This notion has been defended, for example, by Christine Schües (1997; 2000) and Johanna Oksala (2003).1On the other hand, classical phenomenology is dominated by the idea that the rigorous first-person methodology that is essential to phenomenology dictates that the sense of birth must be studied primarily by reflection on the structures of our own recollection or memory. Consequently, the primary sense of human birth would be that of an unattainable limit. This is argued on the basis of the existential fact that we all are born but cannot recall our own birth, or else on the basis of the transcendental fact that the structure [End Page 31] of retention ties each living present to an earlier one and implies that the transcendental ego cannot be subject to generation.2 From this perspective, all analyses and reflections of the experiences of labor, gestation, and pregnancy would be secondary since the sense of birth that these experiences involve is the nativity of another human being and not the nativity of the reflecting self.This paper challenges both the feminist and the classical phenomenological approach. I maintain that careful phenomenological analyses of the experience of pregnancy undermine both notions. Such analyses show, on the one hand, that pregnancy does not imply a nondistinction or self-other fusion but on the contrary involves a specific self-other divide. At the same time, they demonstrate that the sense of birth is more complex than the classical recollection-paradigm suggests and that it includes more components than the signification of an unattainable limit. A proper phenomenology of birth must take into account not only the universal fact that we all are born, but also the equally universal fact that each of us is born from another human being, that is, some other human subject.3 This other human being who “gave” us birth or “from whose flesh we were born” provides us with a unique perspective on our own past, beyond the limits of our own recollection. Her perspective is incomparable to any other external perspective; rather than simply giving us an additional third-person viewpoint on our own organic birth, this one person is able to open a second-person perspective on our pre- and postnatal life and the transition between them—all of which is beyond our own recollection.My argument proceeds by the following steps:First, I develop a fresh discourse on the experience of pregnancy, by studying a set of remarks to be found in Julia Kristeva’s postphenomenological discourse on maternity, on the one hand, and in Simone de Beauvoir’s existential-phenomenological discourse on feminine embodiment, on the other hand. I use these remarks as leading clues for a novel phenomenological study of the experience of pregnancy.4 Contra Young’s influential account mentioned above, I argue that gestation, as experienced by women who live it in the first person, includes a separation between two sensory-motor beings in a nesting relation: the pregnant self and the embryonic other. The alternative account that I provide hinges on my analysis of the experience of fetal movements and the role of touch-sensations and kinesthetic sensations in such experiences. Ultimately, I argue that pregnancy does not erode the self-other boundary or the own-alien boundary but reestablishes both divisions.Second, I compare my account of the experience of pregnancy to Merleau... (shrink)

The article is based on research conducted at Le Bonheur Children’s Hospital, Radiology Department (Memphis, Tennessee, USA). It examines embodied cognition embedded in radiological diagnostics relating image perception with normative judgment constitution. The research follows the causal thesis in that it is possible to grasp categories and causality via visual experience (causal impressions) and language (causal verbs), which in turn heavily depends on strategies of the enaction of imaging technology and intersubjective corroboration. In this way, the pre-reflective and intersubjective constitution (...) of categorial fulfillments of diagnostic experiences is disclosed by phenomenological ethnography of radiologists’ praxis showing how professional knowledge is structurally interrelated with certain kinesthetic and kinetic experiences, multilayered image apprehension and enactive metaphors. (shrink)

Nature's simplest atom and mother of all matter, hydrogen feeds the stars as well as interlaces the molecules of their biological descendants – to whom it ultimately whispers the secrets of quantum reality. Hydrogen’s most prevalent earthly guise lies within the composition of water. A slight electrical disturbance can split water into hydrogen and oxygen gas, resulting in diaphanous bubble clouds slowly rising towards the liquid’s surface. Though the founding fathers of electrochemistry posited that the mass of liberated bubbles is (...) directly proportional to the input voltage, certain modes of electrolysis release more energy than is spent. One such mode involves water’s Janus-faced capacity to react as either an acid or a base. Emanating from an array of electrodes at the bottom of a water-filled chamber, strings and strata of hydrogen bubbles meticulously trace their emergent surroundings. In addition to eddy formations incited by a bubble's rapid growth and subsequent detachment from the electrode surface, acoustic vibrations permeate the two-phase fluid. As the sonic frequency and amplitude rises, the hydrogen bubbles start to coalesce with one another. When the sound field reaches maximum intensity, it can trap bubbles within its antinodes. The vibrations are generated both by transducers and by the bubbles themselves, which emit frequencies ranging from the audible spectrum to as high as 800 kHz. A white laser sheet scans and illuminates the hydrogen bubble trajectories. Each quivering bubble-lens divides the white light into its constituent spectrum of colors. While scanning, the laser sheet also swiftly pulsates and thereby extends the perceivable resolution of micro-momentary bubble dynamics. Before it even begins to map out its vibratory environment, a bubble goes through various stages of spatio-temporal evolution. During the first phase of growth, a bubble nucleus inflates linearly with time. At the second stage, bubble growth is limited by the diffusion of gas within the liquid, causing its size to increase as the square root of time. The final phase before detachment is limited by the kinetics of dissolved gas production, causing the bubble to grow as the cube root of time.1 Beyond macroscopically observable bubbles, an expanse of nanobubbles hides within the water’s internal architecture. Some researchers presume that these nanobubbles of dissolved gas are the carriers of water’s magnetic ‘memory’, enabling electromagnetic fields to saturate its innards for hours and even days after their initial appearance. In the seas and oceans, the lingering presence of electromagnetic fields photonically imparted by sunlight, triggers the electrolysis responsible for most of the Earth’s hydrogen. An essential form of photosynthesis, solar water splitting is the cleanest and most efficient means imaginable for generating and storing energy. —Evelina Domnitch & Dmitry Gelfand *** Animals and plants are formed in earth and in water because there is water in earth, and there is pneuma in water, and there is soul heat in all pneuma ; so that in a way all things are full of soul. Hence plants and animals quickly form once this gets enclosed; and when this enclosing happens, when the corporeal liquids get heated, a sort of frothy bubble is formed. Now the difference between the various creatures which are produced in this way are due to the stuff which makes up the envelope around the soul-source.2 Throwing light into this pneumatic spray of perdurances, which would otherwise swarm below the threshold of human visibility, Evelina Domnitch and Dmitry Gelfand’s Hydrogeny saturates the viewer’s sensorial space with the nano-architectures of froth. Straddling the cell wall between scientific enquiry and artistic praxis, Hydrogeny , beckons a recasting of Lucretius' clinamen in tune with the technologies of the modern observer. For Lucretius it was the indeterminate swerving of an atomistic layer of reality which accounted for the unpredictability of change and the existence of free will. Taken up by Harold Bloom to describe the swerving of cultural production from that which has already been made, the idea has since been textually redressed by Lacan, Derrida, Serres, Deleuze, Nancy, and Badiou. Here we have been given a kaleidoscopic technique for refining and expanding awareness of our enmeshment with so many nested, atomistic layers of object-bubbles—of things—as Aristotle might say,“full of soul.” The gravitational pull of Hydrogeny ushers a de-centered human spectatorship to the ever more intimate recesses of what media philosopher N. Katherine Hayles calls our capacity for “deep attention.”3 Vaporous attention suspended and re-oriented. Microscopic as these diaphanous waves are, the calling they produce is anything but inconsequential. Evelina Domnitch and Dmitry Gelfand are two-thirds of the Amsterdam-based Art–Science Labratory, Optofonica , an atelier initiated by the Italian interdisciplinary artist TeZ in 2006. Follow more of their work at www.portablepalace.com —Isaac Linder NOTES (1) cf. Brandon, Kelsall, Levine, & Smith. “Interfacial Electrical Properties of Electrogenerated Bubbles.” Journal of Applied Electrochemistry 15 (1985):485-493. (2)Aristotle, On the Generation of Animals, 762a18, tr. A. L. Peck (Cambridge, MA: Loeb Classical Library, 1942). (3)“ My article on hyper and deep attention ,” N. Katherine Hayles, accessed on September 14, 2011. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

We give an explicit solution of a model Boltzmann kinetic equation describing a gas between two walls maintained at different temperatures. In the model, which is essentially one-dimensional, there is a probability for collisions to reverse the velocities of particles traveling in opposite directions. Particle number and speeds (but not momentum) are collision invariants. The solution, which depends on the stochastic collision kernels at the walls, has a linear density profile and the energy flux satisfies Fourier's law.

This paper addresses the problem of intermodal perception, that of how warranted perception arises of objects having characteristics in multiple sense modalities. It first shows the inadequacy of the currently popular explanations of such perception in terms of special, innate mechanisms. It proposes instead a phenomenological account in terms of an infant's general capacities for observation and thought. To this end it prepares the terrain with brief investigations into four topics: spontaneity, non-symbolic thinking, the role of spontaneity in perception, and (...) the lived body. It then traces how an infant may, through spontaneous observations of invariable co-presence and sequence, integrate tactile objects, then tastes, smells, and sounds, and finally, with the help from topological and dynamic congruence, visual objects into a single world with the lived body as centre of orientation. (shrink)