Sedimented in embodiments

Natural attitude

Apperception

• On the basis of sensible embodiment, e.g., in speech and writing, they [geometric limit-shapes] are simply apperceptively grasped and dealt with in our operations.

Husserl Crisis §9a

Models

• Sensible "models" function in a similar way, including especially the drawings on paper which are constantly used during work, printed drawings in textbooks for those who learn by reading, and the like.

Husserl Crisis §9a

Cultural objects

• It is similar to the way in which certain cultural objects (tongs, drills, etc.) are understood, simply "seen," with their specifically cultural properties, without any renewed process of making intuitive what gave such properties their true meaning.

Husserl Crisis §9a

Embodiments

• Serving in the methodical praxis of mathematicians, in this form of long-understood acquisitions, are significations which are, so to speak, sedimented in their embodiments. And thus they make mental manipulation possible in the geometrical world of ideal objects.

Husserl Crisis §9a

Sedimentation – blackboxing It is possible

that A is B

So and so claims that A is BA is B (no

modality)Tacit

knowledge

Instrument

Bruno Latour. 1987. Science in Action. Harvard University Press, Cambridge Mass. P.44. Figure 1.6.

A is B: ballerina stands on points

It is possible to stand on

pointsMarie Taglioni

stood on points

Ballerina stands on

points

Tacit pointework

Pointe shoe

Sedimented habits and beliefs

The type of chair popular in western Hubei, China: with a fairly low seat and the back inclined at about 45 degrees from the vertical

The Streit Shakespeare Chair is a fold-up theater chair, manufactured by C.F. Streit Mfg. Co. at the end of the 19th century and beginning of the 20th century.

Embodiment - how does it feel?

• How to compare different epochs? – Embody!– Put on the shoes!– Take a seat!– Climb the staircase!

• How does it feel?

Erica Fischer-Lichte (2008)

Embodiment 1: re-presentation• … the two-world theory.

The character first exists as a text, classified as fictive by the reader. This fictive character is subsequently embodied by a range of actors. That is to say the character merely takes a different shape in each performance.

Embodiment 2: presence• Through specific processes of

embodiment, the actor can bring forth his phenomenal body in a way that enables him to command both space and the audience's attention… these embodiment processes create energy, that is to say they require the body to be brought forth as energetic.

Kinetic melody

• Natural attitude of the body also characterizes the handling of the parts of the body as natural body schemas (Head and Holmes 1911) or kinetic melodies (Luria 1957).

"Fist-edge-palm"

Kinetic melody

• Natural attitude of the body also characterizes the handling of the parts of the body as natural body schemas (Head and Holmes 1911) or kinetic melodies (Luria 1957).

"Fist-edge-palm"

Body Schema

Body Schema a system of processes

that constantly regulate posture and movement – a system of sensory-motor processes that function without reflective awareness or the necessity of perceptual monitoring.

Body schema and body image

• Body image – taking an reflective attitude (a perception of, or belief about, or emotional attitude towards) one's own body

• Body schema – having a pre-reflective capacity to move or being in the action of one's own body

More see in the section on reflectivity

Reading

• Shaun Gallagher. 2005. How the body shapes the mind. Oxford: Oxford University Press.