Joel Krueger

In this article, I attempt to bring some conceptual clarity to several key terms and foundational claims that make up Levinas's body-based conception of ethics. Additionally, I explore ways that Levinas's arguments about the somatic basis of subjectivity and ethical relatedness receive support from recent empirical research. The paper proceeds in this way: First, I clarify Levinas's use of the terms “sensibility”, “subjectivity”, and “proximity” in Otherwise than Being: or Beyond Essence . Next, I argue for an interpretation of Levinas's thought that I suggest is buttressed by recent experimental work in both developmental psychology and neuroscience. I provide examples of research that I suggest opens up Levinas's phenomenological analysis in new and interesting ways. I also urge the importance of Levinas's phenomenological analysis in contextualizing the ethical significance of these empirical findings.

This essay brings Emmanuel Levinas and Watsuji Tetsurō into constructive philosophical engagement. Rather than focusing primarily on interpretation — admittedly an important dimension of comparative philosophical inquiry — my intention is to put their respective views to work, in tandem, and address the problem of the embodied social self.1 Both Watsuji and Levinas share important commonalities with respect to the embodied nature of intersubjectivity —commonalities that, moreover, put both thinkers in step with some of the concerns driving current treatments of social cognition in philosophy and cognitive science. They can make a fruitful contribution to this discussion by lending a phenomenologically informed critical perspective. Each in their own way challenges the internalist and cognitivist presuppositions informing the currently dominant “Theory of Mind” paradigm driving much social cognition research. Moreover, their respective views receive empirical support from a number of different sources.

We argue that a phenomenological approach to social space, as well as its relation to embodiment and affectivity, is crucial for understanding how the social world shows up as social in the first place—that is, as affording different forms of sharing, connection, and relatedness. We explore this idea by considering two cases where social space is experientially disrupted: Moebius Syndrome and schizophrenia. We show how this altered sense of social space emerges from subtle disruptions of embodiment and affectivity characteristic of these conditions. These disruptions are instructive, we suggest, in that they highlight the foundational role that body and affect play in organizing social space—the lived context in which we first encounter one another as social agents.

Much recent work on empathy in philosophy of mind and cognitive science has been guided by the assumption that minds are composed of intracranial phenomena, perceptually inaccessible and thus unobservable to everyone but their owners. I challenge this claim. I defend the view that at least some mental states and processes—or at least some parts of some mental states and processes—are at times visible, capable of being directly perceived by others. I further argue that, despite its initial implausibility, this view receives robust support from several strands of empirical research.

I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience.