1. Sedimented in embodiments
Natural attitude

2. 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

3. 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

4. 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

5. 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

6. Sedimentation –
blackboxing It is possible
that A is B
So and so claims
A is B (no that A is B
modality)
Tacit
Bruno Latour. 1987.
knowledge
Science in Action.
Harvard University
Press, Cambridge
Mass. Instrument
P.44. Figure 1.6.

7. A is B: ballerina It is possible
stands on points to stand on
points
Marie Taglioni
stood on points
Ballerina
Tacit
stands on
pointework
points
Pointe shoe

8. Sedimented habits and beliefs
The Streit Shakespeare Chair is a The type of chair popular in western
fold-up theater chair, manufactured by Hubei, China:
C.F. Streit Mfg. Co. at the end of the with a fairly low seat and the back
19th century and beginning of the 20th inclined at about 45 degrees from the
century. vertical

9. 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?

10. Erica Fischer-Lichte (2008)
Embodiment 1: re-presentation Embodiment 2: presence
• … the two-world theory. • Through specific processes
The character first exists as of embodiment, the actor
a text, classified as fictive by can bring forth his
the reader. This fictive phenomenal body in a way
that enables him to
character is subsequently command both space and
embodied by a range of the audience's attention…
actors. That is to say the these embodiment
character merely takes a processes create
different shape in each energy, that is to say they
performance. require the body to be
brought forth as energetic.

11. 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"

12. 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"

13. 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.

14. Body schema and body image
• Body schema – having a
pre-reflective capacity
to move or being in the
action of one's own
body
• Body image – taking an
reflective attitude (a
perception of, or belief
about, or emotional
attitude towards) one's More see in the section on
own body reflectivity

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