Tag Archives: proprioception

Aesthetics and the 4E mind Conference July 2016

Slides from my talk, Embodying Aesthetics through Proprioception


The Pleasure of Movement and the Awareness of the Self

From Chapter 9 of my forthcoming book, The Myth of ‘Just do it’: Thought and Effort in Expert Action:


In a paper entitled “The Way of the Wanton” (2008),  David Velleman suggests that we achieve excellence only after we have moved beyond reflective agency. What he means by this is that although reflective agency—that is, thinking about and deliberating over our occurrent actions—is a stepping-stone to developing expertise, we perform at our best when we attain what he refers to as “self-forgetful spontaneity,” or “flow.” Expressing a version of the view I have been referring to as the just-do-it principle, he tells us that in highly-skilled actions, “the capacity to monitor…performance, to consider how it falls short of an ideal, and to correct it accordingly…is no longer exercised” (p. 188). Rather, after the requisite training, according to Velleman, “evaluative judgment is suspended” and experts act “without deliberate intention or effort” (p. 185). In previous chapters, I have argued for the importance of monitoring, evaluation and effort in expert action. In this chapter, I want to explore the role of self-awareness and discuss whether the pleasure of movement due in part to losing the self.



Proprioception as an Aesthetic Sense

Barbara Montero (2006). Proprioception as an Aesthetic Sense. Journal Of Aesthetics And Art Criticism 64 (2):231-242.

The aesthetic senses are the senses by which we experience beauty, grace, and other aesthetic properties. Vision and hearing are commonly recognized as aesthetic senses, while smell, taste, and touch are not. Proprioception is the sense by which we acquire information about the positions and movements of our own bodies, via receptors in the joints, tendons, ligaments, muscles, and skin. My claim is that proprioception is an aesthetic sense and that one can make aesthetic judgments based on proprioceptive experience. I will argue that, just as one can deem a painting beautiful based on one’s visual experience of the painting, one can deem a certain movement beautiful based on one’s proprioceptive experience of the movement. In addition, I posit that in a certain sense an observer can proprioceive the beauty of another’s movement. Although this may sound surprising, I argue that recent discoveries about the function of mirror neurons—neurons that are activated both when one performs a task and when one sees that task performed—as well as other empirical studies illustrating that when seeing others move we kinesthetically represent their motion, support the case and potentially pave the way toward a third-person proprioceptive aesthetics.