Carla Bagnoli

Traditionally, philosophers have focused on whether and how emotions threaten autonomy, insofar as they lie outside the sphere of rational agency. That is, they have conceptualized emotional vulnerability as passivity. Second, they have considered how emotions are insensitive to rational judgment, focusing on cases in which emotions are dissonant or recalcitrant. Third, in recognizing the motivational force of emotions, philosophers have tracked their negative impact on rational deliberation. Indeed, emotions are often contrastive elements in rational deliberation. They appear to defeat deliberative judgments about what to do, survive rational deliberation or preempt the very possibility of rational deliberation. But there are more interesting cases in which it is apparent that emotions bear a rather complicated relation to autonomy. Love and shame provide powerful examples of the ambivalences and complexities of such a relation. In analyzing such complexities, my aim is to present a case for appreciating various dimensions of vulnerability and, correspondingly, for exposing the importance of emotional vulnerability for agential autonomy. This view is rooted in a general account of agential autonomy marked by mutual respect and recognition of others, as a normative response to constitutive vulnerability, understood as the capacity to affect and be affected by others as well as by external agentive and non-agentive causes.

This chapter discusses butō dance as an example of improvisation that challenges not only the extant philosophical definitions of improvisation, but also some fundamental presumptions about self-government and agency that are current in action theory. In the first part of the chapter, I identify the main features of butō improvisation, with regard to the nature of its basic movement, and the kind of subjectivity implicated in its generation. I then raise some questions regarding the philosophical characterization of this form of dance, and in the second part of the paper, I argue that butō improvisation undermines the intuitive distinctions between “ordinary” and “specialized action”, thereby eluding both the philosophical rationalistic theories of action as mediated by intentions, and the theories of arational action as expressive of individual subjectivity. My claim is that butō can be better interpreted as a shared action which is neither mediated by intentions nor expressive of the individual self, meant to generate a community by sharing the experience of the living body. This characterization has the advantage that it helps to put in the right perspective the puzzle about the normative standards of improvised action, which is addressed in the third part of the chapter. According to Nelson Goodman, improvisation as such undermines the very idea of a normative paradigm against which to evaluate possible solutions. In the case of butō, the absence of normative standards of action (e.g., success, correctness, or rightness) may be also connected to the absence of a subject in charge of his action. This is because butō improvisation does not count on the dancer as a pre-defined subject existing prior to and independently of her performance. In contrast to these interpretations, I hold that there are normative criteria for butō improvisation, which govern its explorative and generative functions by a training based on unselfing. This model turns away from the rhetoric of spontaneous free movements and the search for individual authenticity. It advocates for a model of intentional agency that it is not mediated by (individual or joint) intentions, but aspires to generate a community by sharing the experience of a living emotional body.