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The complex interplay of fear, attention, and behavior toward bodily sensations with psychopathological symptoms and how they mutually influence and potentially reinforce one another remains to be fully elucidated. In this study, we used a network analytical approach to unravel these complex interactions. Specifically, we aimed to identify central symptoms and etiologically relevant factors that might be associated with anxiety and depressive core symptoms. To this end, the following clusters were assessed in 791 adults: interoceptive fear, interoceptive attention, maladaptive behaviors related to bodily sensations, and core symptoms of anxiety and depression. This network was modeled using a Gaussian Graphical Model. Central variables (nodes) were identified using centrality indices and bridge analysis. Self-examination and attention to bodily sensations emerged as central nodes. Moreover, time spent paying attention to bodily sensations, fear of anxiety-related sensations, and self-examination were identified as central bridge nodes, that is, central nodes connecting psychopathologically relevant symptom clusters. The present study indicates that fear of bodily sensations, the amount of attention and time spent focusing on somatic sensations, and self-examination are central factors. The findings suggest potential targets for future longitudinal studies on the impact of these factors for the escalation of anxiety and depressive symptoms. Central variables were identified through centrality indices and bridge analysis Attention to bodily sensations and self-examination were identified as central nodes Fear of bodily sensations and self-examination emerged as central bridge nodes Time spent paying attention to body sensations also emerged as central bridge node Results suggest possible targets for future experimental and longitudinal research [ABSTRACT FROM AUTHOR]

Focusing on three ludic journeys through an autoethnographic account of Wellington, New Zealand, this paper explores how the performance of playful movements can alter the meaning, practice, and feeling of urban spaces. Attention is drawn to becoming hybrid, how technology mediates and augments the power to transform the everyday and support playful engagement with the city. These three ludic stories focus on e-scootering, cycling, and playing an augmented reality game, and highlight how play orientates our bodies through a sense of 'with-ness', with our environment and others. It also looks at orientations of 'against-ness', a leaning away from the materiality of objects, spaces, and events through play. This paper concludes by drawing on how space feels, and how it may open up the design potentials that these mediated practices offer. [ABSTRACT FROM AUTHOR]

Leisure takes its action in space and time. Virtual reality manipulates this spatiotemporal premise to imitate a leisure experience. This study examined virtual leisure from a phenomenological perspective and with a phenomenological method. A model of virtual leisure experience involving the body, space, and time was postulated. Results showed that virtual reality is distinguishable from reality by its technologically mediated consciousness. The physical body is a connector by which the real and the virtual penetrate each other. The virtual space encases a corporeal body, a habitual body, and a body in technology. Time in virtual reality is condensed into a personal time that the body intuits and an impersonal time that the body remembers. Matters regarding consciousness of VR body, space, and time and meaningful leisure in an increasingly virtual world were discussed. [ABSTRACT FROM AUTHOR]

Emotional processing has been attracting increased attention. We herein present three patients with intractable epilepsy in whom emotional responses were elicited by electrical cortical stimulation. Negative feelings were produced in all patients; however, the content of each differed. In patient 1, the stimulation of the right anterior cingulate gyrus elicited unpleasant thoughts. In patient 2, the stimulation of the right posterior cingulate gyrus evoked anxiety. In patient 3, the stimulation of the right prefrontal cortex induced anxiety associated with a somatic sensation. Emotional responses comprise various aspects and the cortical areas responsible vary depending on each emotional aspect. [ABSTRACT FROM AUTHOR]

Waist beads are important cultural accessories with different layers of signification among young women in Calabar metropolis, Cross River State, south-eastern Nigeria. Drawing on ethnographic qualitative approaches involving focus group and semi-structured interviews with thirty participants who were purposively sampled, this article explores the social, symbolic and aesthetic values of waist beads based on subjective accounts and nuanced experiences of young women who have used them for varying length of time. The study is anchored on ethnosemiotic methods and anthropo-semiotic framework to foreground an investigation of indigenous system of signs in a particular cultural context. It aims to interrogate how young women make sense of body practices and representations through waist beads in shaping their social universe. Waist beads can be identified as social texts with enormous symbolic capital that is useful in beauty projects, fertility narratives, discourses of spirituality and the expression of femininity. The study concludes that waist beads are essential components of participants' material culture that provide new opportunities for self-expression, self-representation and personal identity construction. Waist beads, therefore, offer a prominent performance site through which the aesthetic of the female body is redefined, recreated and transformed. [ABSTRACT FROM AUTHOR]

The implicit activities of the living body in sports (such as heart rate, involuntary gestures, stress, reflex, emotional regulation and interaction expressions) emerge in the consciousness of the lived body without our voluntary control. We demonstrate physiological emersion, and how, including in dramaturgical perception, physiological flows and processes collide with the image of a whole body. In this paper, we introduce corporeal non-property as the missing (?) link between phenomenology and neuroscience, renewed by research on the cerebral unconscious and the perception of their lived body. Rather than mindfulness, physical activity obliges the subject to learn the unconscious and his motor skills from his living body: a new psychoanalysis of sport is thus established by studying what emerges from the activity of the living body up to the level of the conscious description of motor action. In this paper, we explain why that awareness occurs, and why it matters for the understanding of unconscious activity of the athlete's living body. This is potentially interesting, although it needs, as a theory, to overcome the obvious reliance of the body on unconscious or habitual/automated physiological processes. But the incorporation of body techniques forms a habitus. [ABSTRACT FROM AUTHOR]

This study is an interdisciplinary research into Uruguayan ayahuasca users belonging to one neo-shamanic and one Santo Daime group. The study involved the chemical analysis of ayahuasca samples, an ethnographic description of the two traditions and rituals, and the application of psychometric scales to measure personality differences, and the acute psychological effects during an ayahuasca ritual. Personality measurements showed lower scores for Santo Daime in Neuroticism-Anxiety, Dependence, Low Self-Esteem, Anger and Restlessness. These differences may be related to the presence of participants under treatment in the neo-shamanic group and/or to the protective effects of a church religion such as Santo Daime. Regarding acute effects, the neo-shamanic group showed higher scores in Somesthesia and Perception, which can be related to the high-arousal ritual setting. Chemical analysis for the ayahuasca samples showed a typical composition of alkaloids. No adulterants were found. The sample from the neo-shamanic group displayed a higher β-carbolines:DMT ratio compared to the Santo Daime sample, which could be related to the higher effects observed for Somesthesia for the neo-shamanic group. Significant positive correlations between some personality traits and acute effects were found only in the neo-shamanic group, which may be related to the more individualistic approach of this tradition. [ABSTRACT FROM AUTHOR]

Our brains' ability to attend to our internal body sensations ("interoception") safeguards our physiological equilibrium and, in so doing, creates our emotional awareness, sense of well-being, and self-experience. To my mind, recent interoception research syncs nicely with basic psychoanalytic theory. It offers a potentially revelatory new understanding of how the analysis of transference "works" to create change. The "predictive coding" model probes the nitty-gritty of how our brains create negative, fearful expectations based on past experience and how these negative predictions actually create the feared negative outcome. Powerful early emotional experiences, which cannot be consciously remembered per se, continue to exist mainly as felt bodily sensations. The only way to access such early patterns ("predictions") is through accessing somatic sensation. We must, therefore, explicitly help our patients learn to identify, reflect upon and verbalize internal bodily signals, so that early dissociated emotional experience, "stored" in the body, can be brought to the level of subjective experience. The more interoceptively aware we are, the more we can filter our patients' communications through our own interoceptive awareness, and the more effectively we can help our patients "update" their predictions and enliven their emotional lives. [ABSTRACT FROM AUTHOR]

Psyche includes consciousness, but also the deep levels of the mind that Jung calls the collective unconscious. But Jung uses the term "psyche" instead of Penrose's "consciousness" as a description of the locus of that mysterious meeting place of inner and outer which generates our sense of meaning. "The psyche", Jung finally affirms after decades of correspondence with Pauli, "seems to belong to the microphysical world" (Jung, as cited in Lindorff, [3], p. 97). [Extracted from the article]

Sport is centrally concerned with the human body. Those concerns focus on how bodies move materially in space and in time. In this article, we develop our concept of "Sensory Ecology" to elucidate how one might come to develop and understand the creation of specialist bodily knowledge found in sport. Sensory ecologies are produced through the refinement of enskilled movement of bodily materials in specific spatial and temporal confines. To understand the embodied knowledge that athletes learn, it is crucial to ensure the connections between a body and its environs, the body-in-the-world affirmed via sensory interactions, and the information generated from those interactions are maintained in any research on embodiment, being-in-the-world, and the self. The body, its senses, and its surrounding environs simply cannot be separated from one another. Therefore, a sensory ecology sits in these intersectional coming-togethers of space, time, and material made manifest through the sensing of bodily movement. Throughout this article, we discuss the material of bodies and their sensing of spatialities and temporalities by arguing that our concept of "Sensory Ecology" provides a means for exploring the cultural specificities of sensing the moving and sporting body in particular and ways of being more generally. [ABSTRACT FROM AUTHOR]

The intimate body—essentialized in Judy Chicago's The Dinner Party, complicated in Helen Chadwick's Eat Me—is revisited through discourse on intersex, debate around trans identities and contemporary feminisms, via the subversive actions of radical crafting and visual, textual, material and performic queering. [ABSTRACT FROM AUTHOR]

Somatic movement literacy is when one is literate in Body, making meaning from somatic experiences. It is not just developing an understanding about the body, objectively. Oriented around somatics and embodied cognition, this article will present a framework of somatic movement literacy developed by Paul Linden to be mapped onto arts-based, phenomenological findings of the lived experience of three young children in their preschool mindful movement classes.Methods of arts-based educational research, such as bodily writing, Laban Movement Analysis, and phenomenological methods were originally applied to understand young children's experiences with a mindfully somatic pedagogy. The initial findings were mapped onto Linden's framework of somatic literacy to investigate if this mode of literacy could be fostered with preschool aged childrenSomatic movement literacy was found to involve aspects of agency, Body-awareness, cultural community membership, experiential knowledge, and physical proficiency. Findings demonstrated that young children are capable of understanding who they are, what is happening internally and externally through movement and bodily learning, and how their lives are interconnected with others. [ABSTRACT FROM AUTHOR]

For example, a wonderful breathing technique which brings homeostasis and calm to the body and mind is that of "coherent breathing." While any breathing technique, even simple breath awareness can be transformative, the practice of connected or circular breathing creates a powerful state of alerted consciousness where deep healing and transformative work can be done. Ela has a special interest in the art and science of conscious breathing as a medicine and tool for growth and change. About the Founder Breathwork Africa was founded by Dr. Ela Manga when she saw the potential of conscious breathing as a fundamental pillar in the practice of integrative medicine. [Extracted from the article]

This paper frames the embodied experience of bicycling using theories of performativity and materiality. In doing so, the paper provides insights into embodied processes that regulate the gendered and classed cycling body across age. Drawing from interviews completed with newcomers to Toronto enrolled in a bicycle mentorship program, this paper highlights how context-specific social norms exist around who is read as cycling appropriately. Two norms consistently discussed are that cycling can be at odds with femininity and that it is a symbol of poverty. These norms act as discursive regulatory frameworks for gender and class performativity. Cycling can also be an experience of 'intense embodiment' in that it can bring the absent body back into consciousness. This experience is dynamic and elicits diverse emotions. Furthermore, cycling is not only found to increase people's awareness of their materiality, but also their bodily fluids challenge the notion of 'secure' bodily boundaries. These material processes can be gendered and/or classed, and can affect access to mobility and public space. By studying identity formation processes as they relate to cycling, this paper sheds light on the power-laden underpinnings of identity-based differences in cycling. [ABSTRACT FROM AUTHOR]

In this paper three senses of slow sport are demonstrated through three modalities of technical, and as such, it is found within a precise methodology. Self-awareness is defined by paying attention to what is happening within oneself; here, slowness is methodological and slowing down is ontological. Slowing down is not only methodological slowness; it also involves a synchronisation with the rhythm of the world. Slowing down is both methodological in terms of attention and also ontological by the rhythm of body's activity. Where slowness in meditation seeks to synchronise consciousness with the body's rhythms (breathing, heartbeat, sensation) for the purpose of self-control, slowing down is an attempt to immerse oneself fully in the experience of the world. Deepening helps us to discover duration as a dimension of the consciousness of time. It involves mindfulness and awareness to discover alternative rhythms, such as that of one's breathing or heart rate outside of some physical effort. Body scan meditation facilitates this inner exploration by bringing attention to the internal sensations in order to activate them. This occurs by allowing information from the living body to emerge to a point at which it can be localised by conscious attention [ABSTRACT FROM AUTHOR]

The following study is a phenomenological qualitative analysis of collegiate dancers' experiences with and perceptions of body awareness and somatic movement. Participants (n = 8) were trained dancers, although not dance majors. Semi-structured interviews explored what kinds of experiences dancers have had in the realm of body awareness, what their perceptions of these experiences are, and what kinds of effects they believe body awareness can have on their health and/or dance practice. Results show that participants defined body awareness as a complex process of mirroring, noticing, knowing, and controlling the body. Experiences with yoga and injury taught participants to learn more about their body's structure and limits, but formal experience with somatic movement techniques was limited. Results of this study could be used to improve dance education at the college level, advance the level of inquiry into the benefits of somatic practices, and ultimately contribute to the improved health of dancers as a population. [ABSTRACT FROM AUTHOR]

This article investigates the versatile embodiment of touch in the sensory-aesthetic construction of piano performance. The sensorial interactions enmeshed in piano playing distribute a peculiar interaction between touch and sound, which can be comprehended as two kinds of pianistic touch – the physical touch and the affective touch. In the synthesis, or symbiosis, of these two kinds of touch, piano performance epitomizes a sensory-aesthetic continuum to transmit its force beyond perceptible spatial-temporal boundaries. This article argues that the tactile-sonic relationship in piano playing manifests the performative power of music to formulate new modes of feeling and understanding. This argument is explored in three stages. The first stage utilises two treatises, Steven Connor's 'Edison's teeth' (2001) and Simon Waters' 'Touching at a distance' (2013), to explicate how touch enables the production of musical sound and how music can be received as tactually oriented sensations. The second stage introduces the piano as an exemplary instrument of touch in the contexts of scientific studies and relevant cultural history. The third stage uses two novelistic texts as heuristics to explore how pianistic touch is enacted performatively to engage with the aural, visual, somatic and visceral sensations. Both Thomas Mann's 'Tristan' (2009 [1903]) and Forster's A Room with a View (2012 [1908]) testify to how fictional presentations of piano playing can provide fertile loam to reappraising pianistic touch beyond the ordinary musical context. Overall, as performed in a range of pianistic settings, the multivariant senses of touch provide productive perspectives for re-constructing what prior categories of senses and sensations could not consider. This article will thus be conducive to a quest for new forms of creativity underlying the performance and performativity of pianistic touch. [ABSTRACT FROM AUTHOR]

Indonesian male-bodied and feminine identified subjects, locally and internationally known as waria, commonly claim to have the heart and soul of a woman. While waria form a visible social category, they suffer from various prevailing stigmas, of which a significant share is tied to some cultural assumptions embedded in the mainstream understanding of Islamic morality. While most waria do not feel comfortable practising their religion in public, many describe their subjectivity along the distinction between their bodies and their inner sense of gender as God's will. Consequently, permanent bodily modifications are associated with the notion of sin. These conceptions have enabled a specific form of Indonesian transgender embodiment. This article addresses the bodily negotiations of waria against the background of their religious sensitivities and aspirations for belonging. The spiritually grounded sentiments in relation to their bodies and the sense of gender on one hand, and the signs of increased focus on embodied expression of religiosity among waria on the other, signal the desire for reimagining belonging to Indonesian (Muslim) society. Religious sensitivity, while being the major cause of anxieties on both personal and societal levels, has provided waria with important frameworks which enhance their own relative acceptance of their embodied subjectivity. [ABSTRACT FROM AUTHOR]

This paper examines ensemble learning in the context of ballet. We use more-than-representational theory to account for the "invisible" dimensions of ensemble learning, such as sensations, energy, or intensity that bodies sense, circulate, and evoke in others. We illuminate the mobile architectures that emerge in ensemble learning. Mobile architectures emerge when a performance (i.e., dance, athletic, drama), event (i.e., protest, sermon), or environment (i.e., classroom, makerspace) becomes charged as energy is evoked and circulated among bodies. We describe eighteen months of video-recorded inquiry of teaching and learning in a weekly classical ballet variations class. We used interaction analysis to understand how sensations and energies move (among) bodies during learning. Through our analysis, we show: 1) How mobile architectures form and dissolve, particularly as instructional time begins; 2) How audible expressions communicate energy and modulate ensemble learning and 3) How instruction transforms as the ensemble comes together and pulls apart. This paper contributes a deeper understanding of how learners attune to the relational complexity of learning. It offers accounts of the more-than-representational dimensions of embodiment and calls for further attention beyond the bodies of embodied learning (physical, gestural, tool-mediated dimensions) and toward the intensities, or energies, that those bodies produce together. [ABSTRACT FROM AUTHOR]

Awe is an emotional response to perceptually vast stimuli that transcend one's current frames of reference. Previous research indicated that awe promotes a smaller self, which led to the creation of a small-self hypothesis. Thus, we shed new light on this hypothesis in terms of sense of body ownership using a rubber hand illusion experiment; through it, we showed that awe evokes an increased sense of body ownership over the rubber hand and this effect was prominent among participants who experienced small self. Our findings suggest that awe might provoke a "liberation of the self" in terms of a sense of body ownership as awe has been thought to liberate existing schemas, hence informing the demonstrable implications of the psychological mechanisms of awe. [ABSTRACT FROM AUTHOR]

This article investigates the sensorial and perceptual practices by Catalan artist Fina Miralles in her early performances (1972–3) as documented via photographs and Super-8 films. It analyses the works Paraules a l'arbre, Fenòmens atmosfèrics and Translacions by engaging with feminist theories of embodiment, agency and Noland's elaboration of kinesthesia1 (2009) as a central analytical tool. How were Fina Miralles' artistic corporeal dynamics emancipatory and liberatory in the last years of Francoism? How does this kind of political action value the body senses and perceptions particularly as sites for a kind of learning? I argue that through their relation to the environment, Fina's perception processes provide the key to a sensorial knowledge that allows for corporeal agency and feminist praxis in the face of the acute restrictions on feminine bodies under Franco dictatorship (1939–75). Body action, relations, motion and transposition of natural elements generate a gradual sensorial connection to Miralles' self and to the world. This article examines how Fina created somatic spaces and experiences of increasing corporeal agency that led in later actions to a reconstitution of the body in both intimate and public spaces. [ABSTRACT FROM AUTHOR]

Robotic devices for nursing care are expected to help caregivers work with the elderly. Some robotic devices assist in the physical transfer of the elderly, and these robots come in contact with large surfaces of the human body. The regions of the buttock and the back may be uncomfortable due to the surface material or motions of the robotic devices. Therefore, sensing devices simulating a human body were developed to quantify and evaluate the load of a human body objectively. This simulated buttock consists of simulated bone and soft tissues, which include muscle, fat and skin. These regions have multi-axis force sensors to enable the quantification of the load due to the robotic devices used for nursing care. On measuring the soft exterior, it was found that the stiffness of the buttock dummy was similar to the human buttock. The comfort of a robotic bed was measured using the simulated buttock, and it was found that the shear force increased due to the deformation of the robotic bed. Thus, it was proven that the simulated buttock was capable of measuring the load of the human body when being used with robotic devices for nursing care. [ABSTRACT FROM AUTHOR]

This article examines the senses of messiness and unpredictability which I have found within the Cunningham dance technique. It will do this by explicating my lived experience of learning and teaching aspects of a Cunningham-based approach to dance practice. A central question of my research is how a sense of messiness contributes to enable 'kinaesthetic unpredictability' in the lived experience of performing Cunningham's precise and predetermined dance phrases. To define my 'sense of messiness' I will use choreological methods and improvisational frames to argue that a somatic sensation of messiness arises in various ways in the body/mind, produced in the act of dancing multiple and fragmented relationalities. The article will question the value of exploring a lived experience of Cunningham's fixed forms and examine how messiness and unpredictability can free up dancers to find individual innovations. The discussion draws on voices of Cunningham dancers and teachers. I will share my own pedagogic approach to expanding a lived experience, encouraging different ways of knowing and experimentation with potential relationalities. The article aims to extend debates about dance training today including the use of codified forms and somatic approaches, principles of legacy techniques, and synthesising and innovating ways of knowing. [ABSTRACT FROM AUTHOR]

Teachers are sometimes puzzled and frustrated by some children's difficulties and troubles as these children respond aggressively when feeling that peers crowd too close or seem 'threatening'. This article provides a variety of bodily games to help children become more aware of how their bodies and muscles work. The activities suggested are pleasurable and they also enhance children's interpersonal and behavioral self-control skills. Ideas are suggested so that teachers can use the activities specifically to boost and encourage children's creative imagination and, as well, increase children's feelings of being in charge of their own movements and bodily responses. [ABSTRACT FROM AUTHOR]

In this paper, I examine the re-contextualisation of particular versions of solo traditional set dances from the region of North Kerry, Ireland, by teachers and step dancers of competitive step dancing for competition. These set dances, namely the Blackbird and Saint Patrick's Day, were choreographed by Jeremiah Molyneaux, the last of the itinerant dancing masters of the rural region of North Kerry (circa 1881–1965). The objective of the paper is to enquire into the reasoning behind the relatively recent appropriation of these dances and how competitive step-dance teachers and dancers learned to embody them as representative of a regional step-dance style. The paper proposes a particular model of transmission: a multi-sensory method of transmission where proprioceptive training and somatic sensation are considered in the stylistic embodiment and assessment of these solo set dances, and a theoretical engagement with relevant literature in the fields of Irish dance studies and ethnochoreology to contextualise and historicise the practice for deeper cultural understanding. This model might also be applied to the transmission of other dance practices. [ABSTRACT FROM AUTHOR]

Classic and modern emotion theories suggest that the perception of bodily sensations, or interoception, is foundational to emotion processing. The present research examined whether interoception is enhanced among people high in ruminative tendencies, especially under stress. To test this notion, the present research examined the effects of a mild stressor on subjective and objective measures of interoception among people varying in ruminative tendencies. Under conditions of mild stress, rumination was positively associated with self-reported private body consciousness -a marker of interoceptive sensibility- in Study 1 (N = 312) and with heartbeat detection accuracy (especially in the presence of auditory interference) in Study 2 (N = 180). In both studies, rumination was not significantly associated with interoceptive sensibility or accuracy in the absence of stress. These findings suggest that stress-induced amplification of bodily sensations may be important in explaining emotional dysregulation among chronic ruminators. [ABSTRACT FROM AUTHOR]

Previous research has suggested that cognitive functions such as execution, attention, memory, and perception differ when body position changes. However, the influence of body position on these cognitive functions is still not fully understood. In particular, little is known about how physical self-positioning may affect the cognitive process of perceptual responses in a virtual environment (VE). In this regard, we compared three body positions (standing, sitting, and half-sitting) in two types of virtual reality (VR) game with different degrees of freedom in navigation (finite and infinite) to explore the association between body position and the sense of presence in VEs. A two-way ANOVA yielded a main effect for body position, with the sense of presence significantly higher for a standing position than for a half-sitting position. However, there was no main effect for game type, nor was there an interaction between body position and game type. In addition, a one-way ANOVA revealed that, for the game with infinite navigation, participants in a standing position felt stronger presence than those who were sitting or half-sitting, whereas no significant difference was found between the sitting and half-sitting positions. In contrast, there was no statistical difference between the three body positions when playing the game with finite navigation. Taken together, it can be speculated that the cognitive effects of body position on presence are correlated with the degree of freedom in navigation in a VE. [ABSTRACT FROM AUTHOR]

Images courtesy Chatterjee & Lal and the artist PHOTO (COLOR): Performance Lands, Waters and Skies by Nikhil Chopra, Metropolitan Museum of Art, New York. Images courtesy Chatterjee & Lal, Galleria Continua and the artist PHOTO (COLOR): Performance Drawing a Line through Landscape by Nikhil Chopra, documenta 14, 2017. Images courtesy Chatterjee & Lal, Galleria Continua and the artist PHOTO (COLOR): Performance Drawing a Line through Landscape by Nikhil Chopra, documenta 14, 2017. Images courtesy Chatterjee & Lal, Galleria Continua and the artist PHOTO (COLOR): Performance Lands, Waters and Skies by Nikhil Chopra, Metropolitan Museum of Art, New York. [Extracted from the article]

We see the fear on the tense faces of the people around us, the terror in their wide eyes, the tension in their curled-up bodies and the jolts they make with each explosion. Maria, I miss you I'm used to confinement. Meanwhile, I had fun not being afraid, fearing cockroaches more than bombing. [Extracted from the article]

The essay proposes a critique of a dominant model for structuring perception based on a fixed point of vision and stemming from Renaissance perspective, which grounds a sociality based on categorical splits. The essay proposes a new theory of movement and perception grounded on proprioception (the internal sense of movement of the body) linked to a new field-theory of movement. Finally, the essay proposes techniques and improvization practices to enact modes of relation and sociality grounded on this new account of movement and perception, associated to a co-sensing ethics proposing a series of meta-species, mestiza, neurodiverse, microsexual and swarming becomings. [ABSTRACT FROM AUTHOR]

This piece of writing acts as a practice statement of sorts—one through which I attempt to find an alternative foundation for creativity and practice by making sense of the materiality of bodies in search of an embodied position. This writing invites readers to (re)search for ways we can imagine participatory futures and shape alternative worlds from the ashes of the present. The text speaks through the methodological tool of diffraction (Barad, 2007) and then by conceptualizing a practice of performing porosity (a way of enacting the material abilities of bodies) presents a diffractive approach to artistic practice. Exploring two concepts presented by Karen Barad, intra-action (2007) and indeterminacy (2017), and reading them iteratively through one another, I position contemporary art as a participatory dynamism that entails its own undoings, and with it the undoing of our imag(in)ing of world(s), our capabilities, and the extent of our power. The format of this text is diffractive as opposed to conclusive; it attempts to open rather than close, and it flows from one thought suddenly into another. These thoughts in their simultaneous occurrence could not, alas, be written on top of one another and so are presented instead as ebbs and flows, avoiding the linear presentation of a method statement. Instead, there are notes from practice and encounters with porosity, diffracting several states of water (a tear, a puddle, a river, a human and so forth) and considering how we might take them on to think through how our making-sense (a sense related to making that calls on our embodied knowledge) can help us imagine new possibilities of our bodies and their reach. [ABSTRACT FROM AUTHOR]

What does it mean to be musically haunted? In the Algerian popular Islamic ritual called dīwān, one can be haunted by the deep, bass-register melodies of spirits, saints and historical figures of the trans-Saharan slave trade. Musical haunting is affective haunting. Melodies are not only felt emotionally as recurrent fear, dread and ambiguous loss (Boss 1999. Ambiguous Loss: Learning to Live with Unresolved Grief. Cambridge and London: Harvard University Press.) but they are also simultaneously physically arresting for the body and senses, erupting into uncomfortable sensations like prickling skin and knots in the stomach, eventually precipitating into registers of trance. Here, musical affects manifest spectrally – both directly as non-human entities or spirits and indirectly through strong emotions that tend to 'take over'. The haunted are never eventually 'healed' in ritual, in the sense of completion; suffering always comes back in some form. Rather, dīwān is a modality of continually inhabiting and embodying various tumultuous, political histories perpetually resounding through the daily lives and physical bodies of the dīwān community. By way of non-Western understandings of affect, music, and ritualised temporality, this essay illustrates an intertwined, spectral interdependency of music, affect and politics. [ABSTRACT FROM AUTHOR]

Psychoanalysis has yet to probe the experience of living in an aging body. Analytic writings on aging scarcely mention the body, while those on body development or the body in treatment hardly mention aging. I argue that we must focus more intently on body experience in our work with older patients—the patient's, the analyst's and ours together. I explore how the experience of bodily self-awareness—the body sense—is constructed and how it continues to be "remade" throughout our lives, even in older age. I decry our society's "triumphing over the body" narrative, which dictates that we ignore, battle, or remodel our aging bodies at the very time they are becoming more vulnerable and in need of special attention. In analytic treatment, the older patient's body-self development, like her self development in general, must be taken up from the point where it was earlier derailed. I explore three bodily themes in the analysis of the older woman: (1) Confronting and mourning bodily loss, (2) building embodied self-awareness, and (3) facing mortality. I propose that older women are actually primed to experience our bodies more deeply and pleasurably, because our bodies are quieter, slower and less driven to action. A transformational new capacity for body awareness, or embodiment, is an unrecognized benefit of aging, and, as I illustrate in the case of Judith, one which can mobilize other crucial psychological capacities. [ABSTRACT FROM AUTHOR]

I Epistenology i prioritizes a philosophical approach to wine, taste, and what rethinking the body's role in learning wine might mean for our conceptions of the human. While centered on wine, Perullo rejects falling into typical enophile works, including the single-commodity approach (as Kyla Wazana-Tompkins has called it), this book is not a history of wine (Tompkins [4]). Nicola Perullo's I Epistenology i is a unique text that builds a new philosophical approach to the experience of wine through his proposed concept of Epistenology. [Extracted from the article]

I Psychoanalytic Dialogues i is happy to present three papers by Sarah Schoen, Jean Petrucelli, and Susan Sands, originally presented at the IARPP 2022 meeting in Los Angeles. Schoen, Petrucelli, and Sands' work is noteworthy for its attention to lacunae inscribed in embodiment's intersubjective capacity. Schoen, Petrucelli, and Sands explore how interiority may or may not show itself on the body and, by extension, express interiority outwardly. [Extracted from the article]

This article addresses the relationship between heritage and ancestry. It aims to understand the manner in which human remains from different periods and cultures become relevant symbols for a community. The territory of Quillagua was studied, an oasis of the Loa River in the Atacama Desert, combining ethnographic, cartographic, and historiographic techniques. Two relevant findings can be pointed out. First, sense of ancestry plays an essential role in heritage formation, even more so than sense of place and sense of belonging. Second, sense of ancestry is not homogenous; rather, it is diverse and contradictory because it is constructed through clashes from interests such as economic and scientific interests, memories of difficult and violent pasts, failures in intercultural recognition, and environmental sacrifice policies with negative social consequences. Despite its contradictory nature, the concept of sense of ancestry can be understood as a heritage emotion that causes affirmation and empowerment, especially for those rural Mestizo and Indigenous communities whose cultural and territorial rights have been violated. [ABSTRACT FROM AUTHOR]

This study sets out to explore human–nonhuman encounters in the leisure activity of match fishing. Informed by practice theory, studies on the body and the senses, and the human–animal literature, it focuses on analysing the practice-specific, embodied and sensory doings and sayings of both humans and nonhumans during match fishing. The findings from three-year sensory ethnographic fieldwork conducted in Finnish Lapland suggest that human–nonhuman encounters can be characterised as partner dancing. That is, this phenomenon is tantamount to a dance between a fish and an angler taking place in a dancehall of water, in which the weather acts as an orchestra framing the rhythm and tempo of the dance. Considering both fish and anglers, the study emphasises the agential and embodied quality of human–nonhuman encounters. It challenges the dominant position of the human, suggesting a move from anthropomorphism to zoomorphism – animalising the angler in a dance with a fish. The study also provides novel insights into the dynamic nature of a waterscape, highlighting its dual nature consisting of the underwater world and the above-water world. In summary, this study offers a detailed account of the dynamic interactions between humans, nonhumans and the natural environment. [ABSTRACT FROM AUTHOR]

Social Anxiety Disorder (SAD) is considered as prevalent, chronic, and debilitating, with complex symptomatology. Various theories and psychopathological models have been purposed to explain SAD. This article will try to focus and emphasis on the concept of Anxiety Sensitivity (AS) and its role in perceiving anxiety and its treatment. The AS refers to the fear of "somatic sensations" related to anxiety and seems to play an important role in the onset and maintenance of anxiety disorders, including SAD. It seems that AS can play a role in various ways, such as fear of showing anxiety related somatic symptoms, fear of cognitive dyscontrol, and fear of losing control of mental abilities. Considering the SAD etiological models, they generally emphasize on the role of cognitive processing and underlying vulnerabilities in the development of this disorder. However, these models have not considered the role of AS directly, but the precise investigation of etiological models showed that the core elements of these models have implicitly regarded this construct. Altogether, incorporating Anxiety Sensitivity into the treatment model could further enhance the understanding of the symptomatology, as well as its dynamic and treatment modality. [ABSTRACT FROM AUTHOR]

Drawing on ethnographic evidence from several communities of autistic adults in the UK, I explore the crucial role of the body and the senses in the enactment of autistic subjectivities. Following their initiation into autism-related social groups, members begin using such concepts as triggers, overload, shutdown, and meltdown to refer to their bodily experiences of distress. They then face the task of investing these ambiguous concepts with meaning, through nurturing an increased awareness to their body's relationship with its material surrounding. This cultivation of sensitivity ultimately culminates in the transformation of their bodies into what might be termed autistic bodies. [ABSTRACT FROM AUTHOR]

By critically reviewing and discussing existing scholarship, this article considers how individuals construct their embodied performances of gender while navigating the diverse teaching-learning paradigms experienced within dance discourses. The inherent relationships that exist between dance education and gender have been substantially considered throughout dance studies scholarship. However, these inquiries often concentrate on pedagogy or traditional gender roles and expectations in dance education and performance. In this inquiry, I recognize embodied performances of gender as intertextual constructs. I believe intertextuality is foundational to the dance experience, and is directly related to how ideas about gender are disseminated and consumed. I contend that participants in dance discourses have continuous access to their past, emerging, and future sociocultural interactions and experiences (i.e., texts). Participants accept, reject, and consider these texts in relation to one another to gain understanding. This intertextual processing points to individuals' somatic authority over their embodied performances of gender. [ABSTRACT FROM AUTHOR]

Keywords: Vestibular system; cognition; vestibular cortex; multisensory interactions EN Vestibular system cognition vestibular cortex multisensory interactions 430 432 3 12/01/20 20201001 NES 201001 Vestibular cognition is a newly emerging field with exciting and unexpected implications for our understanding of how the brain works and our ability to provide therapies when neural processes are disrupted. However, these studies are indeed scattered, with no studies comparing the vestibular system's influence on multiple functions and possible correlations among them, and with no systematic approach to understanding how the vestibular system exerts its influence as a whole. [Extracted from the article]

This essay explores the layering of perceptual information across the real and the virtual that occurs when bodies cohabit virtual environments using new commodity-priced virtual reality technologies. Specifically, we take an embodied somatic and dance perspective to better understand and characterise the perceptual gaps between how bodies are seen and how they are felt in virtual environments. Our discussion derives from observations and analysis of participant feedback obtained from a series of workshops run in July 2018 using a new multi-person VR framework. This research has opened up a fascinating fundamental question: can we harness VR's potential to awaken new modes of perception that enable people to better know their body? [ABSTRACT FROM AUTHOR]

The recent turn in the field of human-computer interaction to design and the aesthetics of interaction has generated a renewed focus on the body as the fundamental site of experience. Interaction design researchers and educators are exploring how to design for the felt dimension of interactions with computing technologies, anchored in the sensing and feeling capacities of the lived body. An expanded view of aesthetics beyond the visual has led to calls for approaches that foster a somatic literacy for interaction design. Our focus in this article centers on the importance of incorporating somatic sensitization in design pedagogy, toward a more holistic approach taking advantage of the sapient capacities of the body as a tool for meaning-articulation. Through the presentation of our case involving a workshop comparing the notions of tactile sensing and felt-sensing, we discuss our strategies for including a somatic learning process in design education, particularly in the context of design evaluation and creativity. We discuss some of the challenges we have experienced in facilitating and developing somatic sensibilities for practices of discernment in the evaluation of the qualities of designed interactive technologies. [ABSTRACT FROM AUTHOR]

The authors asked how sport expertise modulates visual field dependence and sensory reweighting for controlling posture. Experienced soccer athletes, ballet dancers, and nonathletes performed (a) a Rod and Frame test and (b) a 100-s bipedal stance task during which vision and proprioception were successively or concurrently disrupted in 20-s blocks. Postural adaptation was assessed in the mean center of pressure displacement, root mean square of center of pressure velocity and ankle muscles integrated electromyography activity. Soccer athletes were more field dependent than were nonathletes. During standing, dancers were more destabilized by vibration and required more time to reweigh sensory information compared with the other 2 groups. These findings reveal a sport skill-specific bias in the reweighing of sensory inputs for spatial orientation and postural control. [ABSTRACT FROM AUTHOR]

The Alice in Wonderland Syndrome (AWS) was first described more than 60 years ago by Lippman. It refers to episodes during which an individual may variously experience (as did Alice during her time in Wonderland) somatic, visuo-perceptual and/or visuo-spatial hallucinations, as well as feelings of depersonalisation, derealisation and distorted sense of time. Although the prevalence of AWS is unknown, indirect evidence from both retrospective and prospective studies suggests that it is a rare disorder. This paper describes the case of Zoe, a right-handed, native English speaker who was age 45 years when she experienced an episode of AWS. On neuropsychological assessment, Zoe demonstrated notable impairment of attention, learning and recall (particularly for visuo-spatial information) as well as executive dysfunction (viz., impairment of planning, cognitive flexibility and abstraction), consistent with fronto-temporal dysfunction. Detailed profiles of neuropsychological impairment in the context of AWS have not previously been reported, and it is unclear if such impairment is, indeed, a central and characteristic feature of AWS. [ABSTRACT FROM AUTHOR]

A personal narrative is presented which explores the author's Somadance eco-performance in Mukuntuweap canyons at Zion National Park in Utah.

This study started with the question, ‘How can I teach my students to create emotions from the sensations of physical movement and posture?’ Over a semester, a group of post-secondary theatre students at Simon Fraser University in Vancouver, Canada were taught movement fundamentals using the Franklin Method™ as a means to somatic awareness while improving optimal biomechanical function. As a professional dancer I had intuitively devised a method of utilising somatic experiences as a means to generate felt emotions on stage so it would not be necessary to fake them. The students were guided to sense their physical sensations and to use those sensations to create movement choices that would influence the generation of emotions. Through the course of the inquiry it became apparent that the emotions I believed were generated were merely the sensations of emotions. Further research into emotional theory and neuroscience suggests that I had accessed the physicalisation of an embodied emotional response to a discrete emotion and reconstructed it in a new context. [ABSTRACT FROM PUBLISHER]