Sunday, June 3, 2012


Susan Stuart's "Enkinaesthesia" is a very attractive notion. Let's check the outline of her idea.

Enkinaesthesia emphasizes two things: (i) the neuromuscular dynamics of the agent, including the givenness and ownership of its experience, and (ii) the entwined, blended and situated co-affective feeling of the presence of the other(s), agential (for example, human, horse, cat, beetle) and non-agential (for example, cup, bed, apple, paper) and, where appropriate, the anticipated arc of the other's action or movement, including, again where appropriate, the other's intentionality. When the 'other' is also a sensing and experiencing agent it is their - in this case, the pair's - affective intentional reciprocity, their folding, enfolding, and unfolding, which co-constitutes the conscious relation and the experientially recursive temporal dynamics that lead to the formation and maintenance of the deep integral enkinaesthetic structures and melodies which bind us together, even when they pull us apart. Such deeply felt enkinaesthetic melodies emphasize the dialogical nature of the backgrounded feeling of being.
[Stuart, S (2012). Enkinaesthsia: the essential sensuous background for co-agency. In Z. Radman. (Ed.), Knowing without Thinking, Palgrave Macmillan, p.167]

The self and the other has its own agency respectively, however, there is the background dimension that makes each agency possible. This dimension is mainly kinaesthetic and affective, since we mutually understand the intentionality of actions through our motor capacity. Enkinaesthesia is so-called and opposed to the word ‘Interkinaesthesia’ because it emphasizes the direct and non-dual experience of the other.

As Stuart also recognizes, Husserl’s theory of the Other, especially the theory of “Pairing” (Paarung), tried to describe that kind of dimension but his attempt was not enough successful.