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let me start okay hi everybody good afternoon good evening for Professor Mar shank because in Germany is 8m isn’t I’m I’m I’m a PhD student at Federal University of p and SBF member so first of all I would like to say thank you the professor shank for accepting to do this SB conference cycle and Professor marus Sila for the bate the sbfa conference cycle is a monthly activity of the Brazilian Society of anal analytical philosophy in which Dynamic members of the analytical Community invite influential research to talk about their research broadcast live to sbfa YouTube the cycle a to bring together our community around the discussions and the research in the area of analytical philosophy Marx shank is a professor of philosophy at D University and president of ger Society of analytical philosophy he is author of the book metaphysics of science a systematic and historical introduction the title of his conference is pro pro perceiving art so before we Professor Shen started his talk Professor Mark Silva Bruno do you want to to say something maybe you want to start marus uh I’m not sure I I’m talking about marus Sila yes just say hello say Portuguese for so English now just to say hello to to Bruno and Thiago and Professor Marcus to say a big thank you for for Bruno and Thiago Bruno is a a former student of ours in in peruk as well and Thiago is a PhD student in our group in kifi so it’s a very nice opportunity to have this uh collaboration new collaboration first step for a collaboration between the Brazilian societ for analytical philosophy and philosophy and the German Society for analytical philosophy which is represented here by Professor M shank so thank you Brun for the for the idea and to put this to to realize that we have a bridge there to that we can use it and thank you beino who is in the on the backstage now organizing everything it’s a great work great effort as well so thank you to be here and hope people welcome to 20 uh 24 2024 in 10 years from now we’re going to be there everybody enjoying or and anal thank you and uh thank you Marcus uh I would just like to uh thank Marcus shr for accepting the the proposition uh and thank you for the the all the support you gave me already and you are student giving um I would like also to to thank the S spfr uh for uh this opportunity uh and especially uh th andr that came up with the the idea he was actually the the developer of this uh encounter between societies so uh that that’s it um I then uh pass my words to thades so he can uh follow up with the the conference thank you okay maybe uh I just pass the the the the word then to to marus shink please all right many thanks many thanks for the opportunity to speak at our sister Society at the society for analytic philosophy in Brazil that’s a great honor and I I’m really happy that we get into touch and uh that um uh I have the opportunity to give a talk here um I have or we have together decided uh that it would be best to talk about a project I have uh namely proprioceptive art I have called this talk proprio seing art and behind this uh propr receiving is of course a whole Theory um which is not transparent right now from the beginning but I’ll get there um however before I get there I start with a paradigm example of what we would call Visual Art rather than prop receptive art namely take monaa for example in the Lua in Paris uh that is a painting and paintings or photos Etc we would uh categorize if we had to categorize it under visual art you you will want to see it you don’t want to hear Mona Lisa but you want to see it so this is a paradigm example of a visual artwork similar with auditory art music is of course an example for auditory art and they’re brought with me um maybe audible right now that was Love Supreme by John colrain and here it’s the other way around um you don’t have to see the quartet John col Train’s quarted to you don’t have to see them playing his composition it is enough to listen to it and maybe even with your eyes closed it’s even a greater experience to listen to that auditory work of art now there are of course intermediate cases and I brought with me a picture of an opera by Philip Glass this is is Einstein on the beach um in a production by Robert Wilson and for Opera you need both it’s essential for an opera that you have a visual image um on stage but also of course the music now you can appreciate Opera in just listening to it but one would still say you would be missing an essential part of the whole thing of the whole artwork but it’s an intermediate thing you have visual uh um parts and you have uh auditory parts now some paintings induce what I’m going to call bodily Sensations by visually looking at something it induces some other uh bodily Sensations take a look at Bridget Riley’s um picture fall and it’s of course it might be a picture of a waterfall if you wish or title might refer to that and by looking at it you might get dizzy or might induce vertigo and by vertigo you would have this dizziness feeling um which which is a more bodily feeling than just a a visual feeling we also know that from music music is often not only for listening with your ears especially if you go to a club these loudspeakers are from Berlin’s most famous club barine and the uh the the big Bas uh loudspeakers down there uh these uh play s sounds with a frequency which you can’t hear they really hit your body uh uh full on so uh it’s a it’s a bodily experience uh in listening to let’s say modern electronic music at a at a club so you have also there an overlap between listening and some body Sensations oh yeah here’s a soundtrack okay I don’t know whether it’s transmitted also to the to the audience uh never mind that was uh if if you could hear it that was pylon by the band laa anyway so we have clear cases of visual art we have clear cases of auditory art we have intermediate cases of the two um but this is not my business I don’t want to look at vision and audition um or for that matter the other Aristotelian senses so also not at smelling or tasting or touching I want to look at something else namely proprioception or generally the bodily senses and the Arts now what are the bodily senses um I have here um a quote by David Armstrong who characterizes it fairly well let me read it to you my bodily sense uh by bodily sense we perceive that our legs are moving that our head is turned that our arm is behind our back that we are keeping our balance that our body temperature is up our ears are cold our stomach distended our gut full our throat dry our heart beating our muscles tensed or relaxed and so on and so on and it’s important uh and all the other things that we discover about the current state of our body without recurses recurse uh to uh the Aristotelian senses like sight hearing taste smell or touch so that your legs are moving or maybe right now parallel or crossed while sitting that you don’t have to see you feel it from the inside by your bodily senses by what I’ll later call proception and these are the senses uh that I have in mind when I talk about art now so you might think are our bodily senses in the art world at all why and how and where and give me an example give me an example for that so here’s an example here are many examples um fairly recent ones so this is one uh from 21 only three years ago at M in New York by Amanda Williams called embodied Sensations uh so it’s in the title yeah and uh Amanda Williams writes on the MoMA website embodied Sensations creates a shared understanding of what experiences are like through shared Sensations or embodied experiences so while the audience is walking through these Furniture pieces you see here at the at the front um and and are asked to move around you can see how how people are are twisting and moving they are asked to uh to focus on the embodied experience as well it’s essential for that kind of artwork here’s another one or many other ones by Casten huller Kasten huller builds slides into Museum spaces this is the turbine Hall in Tate in Tate modern and the slides are not just there to be seen from the outside but you in order to experience that artwork fully you have to slide down these slides by yourself self because here’s what hura writes about his artwork called test site the test site isn’t just in the turbine Hall but it is also to an extent in the slider in you who is stimulated by the slides a site within so uh your body becomes part of the artwork and you perceive your body from the inside and what you perceive there is part of perceiving the artwork here more or less literally said by Casten H and we could go go on from the 2000s onwards a fairly recent example is also till bikas thinking outside the box this is a census deprivation tank which has been used by psychologists um also by torturers by the way I bracket that uh so what what is with this uh what’s going on with this tank is in inside this tank is salty water um uh super super saturated salty water so that you float really you don’t have to move around you float on this this water it’s like in the Dead Sea um floating on it it’s um uh it’s warm uh to 37 degrees so that you don’t feel the difference between the water and yourself your own body temperature and it’s of course quiet and dark inside this tank so what happens here is that you’re thrown back to yourself you you don’t have Ultra senses anymore you don’t hear anything you don’t see anything you don’t even feel your body because it’s floating it’s floating within this tank so the only the only sense experience you get are the sense experience from within from within your body um like described by by Armstrong so that’s what this tank does and I could go on with examples even early examples like um some artworks by Marina Abramovich but I won’t go into that we can discuss things things later now my question is uh since this seems to be something that is on voke in uh in in art museums right now in the 2000s 2010s and so on um I have other examples later my question is okay something Pro receptive something B where our our body experience gets into focus is is more and more important is is a trend in in artworks so uh my question is what is that kind of art how can we Define it I want to ex extract that uh concept of a bodily uh art um so here’s the overall agenda for the rest of the talk um I need of course to specify what uh what sense this prop reception is I want to focus a bit a bit further on that then I need that’s my my main aim to explicate what Pro receptive art is and there are sub U tasks here um I will say something about our concept of Art in general and also touch upon some ontological questions I try to keep that brief here uh because I have a different interest but I I’ll talk about those questions as well and then there are some open questions and some observations where I’d be very grateful especially for two or three open questions if uh if you could get if you could give me some some feedback that that would be great okay I’ll I’ll start with um what I mean by proception I called this how to proceive art or what is proprioceptive art now let me first focus on Prop reception what that is um I use it as an term here well literally it comes from Latin proprius one’s own and riper to receive so um it’s to receive one’s own right from the inside so so to speak and I use this term proception for the following three ways to perceive oneself from the inside proception narrowly speaking uh inter reception and the vestibular system and I come to these points in in detail now there’s a narrow way how to conceive of proprioception and I talk first about the narrow way I will later on subsume everything here proprioception Inception and the vestibular system under the term prop reception why do I do that that’s a strange move uh okay to call the super category after one of the subcategories why do I do that well well because the term prop art is so nice or prop receptive art is nicer than interceptive art or vestibular art so that is it’s an it’s an aesthetic choice to say let us call it prop art it sounds like pop art or like op art or like AIT prop Etc so it makes aesthetic sense to call it prop art or prop receptive okay here’s what here’s what prop perception is narrowly speaking um the position of position of our limbs so you know where your arms are right now you don’t have to look at them you you need not uh uh you need not your eyesight of your arms you you close your eyes and you know where your arms are whether they are in front of you or whether they behind you or above your head Etc you know that from inside so that’s because you have nerve endings you have your muscles are equipped with nerve endings uh your joints Etc this and they detect the position of your limbs from the inside and give that information to your brain If you so wish uh your posture um so not only your limbs arms and legs but also how whether you sit upright whether you are tilted Etc so that posture body whole body posture is revealed to you by an inner sensory apparatus nerve endings Etc um also your body’s spacio structural extension um you you know when you grow muscles for example then you you sooner or I mean you have to adapt maybe um but you know that you have a bigger biceps now whatever you you train or if you uh gain weight or lose weight um you you’ll feel that from the inside that that happened um also muscle tension uh so if you do some yoga postures for example your muscles will be stretched and you notice that they are stretched um muscle tension is a typical typical way of proing your body and behind all that is also uh of course a body image or schema you have um you you know the extension of your body um by and large and because of this background information you then know uh where your arms are where where your body is ETC because because of that background information you have stored somewhere about your body okay so what is interception in contrast to proprioception narrowly speaking well with interception um uh psychologists um mean pains in your body itches thermal Sensations sensations of orgasms Etc um so when you’re warm or one part of your body is warm maybe because some uh heat uh um wave or so hits hits your arm you have a thermal sensation in within your body uh and you can uh detect that pain as as well especially of your organs right so your respiratory gastrointestinal or cardiovas vascular organs you will you will feel that uh you will will get information about them from the inside you know when you’re breathing heavily you know when you’re when you have run a Sprint or up the stairs quickly then you you notice your heartbeat um you have information about that gastrointestinal you know when you’re hungry or you know when your stomach is filled from the inside um also awareness of your energy and stress level heartbeat just shortness of breath uh IND digestion Etc uh so these are typical interceptions now um lastly the vestibular system which is located in your inner ear what does it do it gives you a sense of equilibrium um for this body posture also related to propioception because of some muscle twist now or some strained muscle I feel that I’m twisted but also because of the vestibular system I notice that my head uh is not upright uh but it’s diagonal um because I detect with it gravitation I detect the the center of gravity so so to speak so in this sense uh it’s quite astonishing the the sense of equ equilibrium the vestibular system is like your eyes uh something that detects something external namely gravitation uh your eyes detect electromagnetic waves uh your vestibular system detects gravity uh something out outside right okay spatial orientation I’ve just said that also movements whether you accelerate or whether you’re stopping um this is detected by your inner ear as well so related to your body movements uh heavy and um by by all this all this I mean by bodily senses or by proception now in a larger wider way yeah proception uh is all that proprioception narrowly speaking inter reception and um uh the vestibular system now as you realize there’s no single sense organ for these bodily senses uh there are multiple sensors um that’s a that’s a big difference to Vision or audition for vision we have but one sense organ namely our eyes for audition it’s the ear for the bodily senses there are very different nerve endings uh very thermal receptors are different than pain receptors are different from uh muscle strain receptors Etc so it’s a it’s a mixed bag uh and they are all only kept together because all these this group of of Senses informs you about a very special physical object in the world your body your own body from the inside and not seen as a third person or a third uh body third object but seen from inside uh that’s what I say here on this slide um uh again that is a multitude of detector mechanisms inside the body and they are uh sens sensitive to different range of physical properties inertial motion heat pressure change in tissue structure Etc so it’s a mixed bag but um there are these detector mechanisms and they all come with a special phenomenology uh I mean having a pain is different from um maybe it’s on a spectrum but it’s different from feeling pressure it’s different from uh muscle tension which can lead to pain of course it’s but you know you notice the uh the phenomenology or um uh feeling uh stuffed having eaten a lot feels different from uh being breathless or so so uh specific phenomen phenomenology is accompanied here um um okay the unifying uh aspect with all these differences is um is um is your own that is it’s about your own body a very special physical object um okay now that was the first point what what do I mean by proception i’ uh we we can take that uh that was our first issue now we explicate what proprioceptive art is okay what would what would an artwork be that is proed in the white sense that’s my task now um let’s have a finger exercise um what is a visual artwork how would we in intuitively say Define explicate what it would mean for an artwork to be a visual artwork well look at monaa and suppose you go blindfolded into the L now no one of us would say well I’ve seen the monaa no you have or I’ve I’ve appreciated monaa well in which sense you haven’t no sorry it’s essential uh to appreciate Mona to see monola of course you can think about the painting you can write about the painting Etc but for an appreciation of the artwork a proper appreciation of the artwork you have to see it if you don’t see it it’s you haven’t you haven’t appreciated it so that uh as a definition for a visual artwork tentative explication would be this a work of art is a visual artwork if and only if seeing this work work of art is essential for its proper appreciation likewise with an auditory artwork if we were to Define that we’d say a work of art is an auditory artwork if and only if hearing this art this work of artart is essential for its proper appreciation note that I’m not defining what an artwork is here I just say a work of art is an auditory artwork if and only if okay and so we could um as a first tentative explication say for prop art prop receptive art prec exactly the same a work of art is an is a proceptive artwork if and only if proing this work of art is essential for its proper appreciation and I mean this is the core message okay I that’s it so here’s the core message but things get complicated and here’s the complicated expl ation of what prop art is and what you will see is a mouthful is far too much even for me to understand in one go uh so I have uh little indexes indices uh and we go at a couple of Concepts and we go through it bit by bit so here is the whole thing I I’ll read I’ll read through it never mind if we don’t understand it me neither we go through it bit by bit something X is a realization of a proppr receptive artwork if and only if x is a performance an artifact Etc or a combination thereof which first appeals essentially directly or indirectly to some degree to its recipient bodily senses and second uh which qualifies by some preferred art Theory as a realization of a work of art um okay so as I said that’s complicated and let let us go bit by bit so let let me see here’s the first footnote which qualifies by some preferred art Theory as an artwork so index one let’s have a look at that what does that mean this red phrase well what I mean is is is this um and and here is is is this second Point uh we we need to say something about our concept of Art in general if we want to speak about proper receptive art um so here it is um um we can simply look at different theories that have been proposed uh for an explication of what art is we could look at institutionalism we could look at resemblance to historical prototypes Theory we could look at Family resemblance theories or views about artworks Etc as I said I I don’t want to get deep into into to these theories but what I want to say is you can plug in your preferred art Theory here yeah I I don’t mind just tell me via your theory what items you think are works of art and I make it my business to tell you whether they are prop receptive works of art so I never mind whether you subscribe to institutionalism or to some family resemblance you or whatever I don’t mind um just give me your theory then we can agree on what whether something is an artwork and secondarily and that’s my business I give I tell you then um whether it’s a it’s a proppr receptive artwork now for for the sake of the argument uh let me let me uh Outsource the problem as written on this slide but as a working hypothesis just take institutionalism institutionalism as the theory of which says this a work of art is an artifact performance Etc uh upon which some Society or some subgroup of society curators galleries Museums Art critics Etc have conferred the status of candidate for appreciation that I’ve taken from from dicki Danto is similar um so that’s that that is a a theory of what an artwork is now we can criticize that and go into details of course yeah and you might have a different preferred art theory institutionalism is the one I put forward as a working hypothesis now um um so if that’s my working hypothesis then we need to ask uh okay so are there objects performances Etc of which sub some subgroup of society curators museums Etc have conferred the state of an object of appreciation does that occur and I had already examples here are further examples one is in dle has been in dislov Unfortunately they have put it down this um early um uh early early this year in January that was a net um which was built just underneath this glass roof um uh in the k21 uh Museum in dorf and this uh ceiling here this glass uh iron structure is similar to the pyramids um in front of the L so back back at the L uh you you might know these these pyramids built in front of the Lu this this glass structure on the roof of the k21 is similar and it is a roof for a courtyard uh 25 M below and what saraso did is he built this this kind of safety net just underneath underneath the roof and the the museum goers were invited to walk on this safety net with 25 M looking 25 M down so that’s that’s a very exciting that was a very exciting experience frightful experience um especially if you have vertigo or with with with vertigo you wouldn’t go on this on this with heavy vertigo you wouldn’t go on this on this net and what happens there is uh latest when the other Museum’s goers uh move around in this net everything is going to uh to move around so you have a hard time to keep upright to keep your balance and not to topple over um so you need your body under control uh for the whole time also you will realize that you are uh most at least most people are going to sweat their heartbeat Rises their uh breathing will be heavier because this is all extremely exciting to say the least frightening uh also and zarino writes also on the website that that’s what the artwork is about that you feel that uh so it’s no use just watching other people in the net that’s not the point of the net the point of the net is that you go inside and you you have these feelings um uh the these bodily Sensations by the way this is I give this class also as a students class these are students of of of mine which I always took term by term into this into this net um which is not possible anymore unfortunately okay um oh here is the white bouncy castle by Donna kasperson William fory and Joel Ryan uh at a museum in Hamburg uh it’s a bouncy castle right okay but they put it in into Museum space with the goal that adults not children that adult adults start to jump around in order to feel their body what’s happening to their body when they do that the acceleration when jumping or falling down or if you’re if you dare it performing a Salto moral Etc uh so that was the purpose of that piece what I wanted to say with these two two more examples is that yes it is in the institutions it is in the museums it has been taken by curators into the museum as an object of appreciation uh so it fits institutionalism by institutionalism these objects are at least art now it’s our business to see whether they are prop art um okay so back to here we tick B which qualifies by some preferred uh sorry can you see the mouse now here by some preferred art Theory as a realization of a work of art yes okay some do we have that now but now we need to look at at at this here or let’s look at realization why did I say realization well let me see uh how are we doing with time well I put in this ontological question uh we are here on the on the overall program I put in the ontological question uh which is is the following um there seem to be works of art like paintings sculptures Etc that seem to belong to the realm of of of spacio temporal material things okay if intuitively if asked um where is the monaa and you mean the artwork you mean the the the thing itself the artwork you would say well go to L in Paris it’s there it’s it’s it’s that material object which is in the L everything else is forged it’s just a copy the the the the the artwork monaa is in the L you would say probably say things like like that um you could have a very different theory of but that might be the intuition that’s different with performance art um also with literature and music uh here you will have performances of the artwork and when asked but where’s the artwork okay I’ve seen a performance of um Philip glasses Opera Einstein on the beach but where’s where’s the artwork the I’ve seen performance of it where is it uh and then people some people say okay it’s it’s an abstract entity the artwork is an abstract entity in the platonic realm for for example only the performances of it are in the concrete world so you get these ontological questions started and the question will be for prop art where is it um um then there are all sorts of answers dualisms which say welfare performance arts art is it’s abstract for uh paintings it’s concrete or you have some monism it’s always concrete or you have abstract monism it’s always abstract so you have different answers plur pluralisms as well and again for for the sake of the argument I used to I have to say I used to these are slides of what I used to think I used to think let’s take um uh abstract monism as an idea all artworks are abstract monaa is just the very first and original performance so to speak or realization of the artwork it can be realized a couple of times um the second and third Etc realization we’d call a copy of the original but the original is not the artwork the original is just the very first realization of the artwork and the artwork is something abs something X abstract so even for these intuitively material artworks even they are abstract and I I used to think that about prop art um because it’s so uh varied in it has sometimes performance aspects it sometimes has material aspects I’d go for pluralism nowadays but but never mind it can be outsourced as well the this ontological question okay um so what what is helpful if we think that the artwork is an abstract entity the artist has maybe created um then we can also speak about the intended realization conditions of the artwork um and we could say that the artist uh might want the realization to be such that we as audience move around with our bodies so that that could be an advantage I realized that I keep kept this uh very vague uh so let let me go let me go on it’s not so important for uh today’s um at least what I would like to discuss with with you let us move let us skip the ontological question let us just talk about the artwork slash the realization of the artwork um and never mind too much let us not worry too much about it um but rather look at the crucial bits which is a we need uh that it something is a proper receptive artwork if and only if it appeals essentially directly or indirectly to some degrees to its recipient’s bodily senses I want to get across what I mean by that so let us start with essentially what do I mean by essentially well by essentially I basically mean what I had in this short version of it the tentative definition of what a propri receptive artwor is namely that it is essential for the proper appreciation of it that you proceive it that some bodily inner bodily Sensations are there and appreciated that’s behind the essential to spell it out it belongs to the adequate realization or and or perception of the artwork that it’s that it affects the recipient’s bodily senses that’s that’s crucial uh or in other words if we were to take away the according bodily Sensations we would not perceive a crucial part of the artwork or the realization of the artwork let’s take H’s slides or um sarinos net yes you can just look at it but looking at it is only looking at it is similar to only listening to an opera you would have just you would just have half of the Opera because it’s essential or a music video a music video but you have just listened to the music well then you haven’t appreciated the music video um the Opera uh you have just looked at it not listen to it well then you have just appreciate half of it so you missed half of the of the artwork same with a proppr receptive artwork if you just look at it just look at the slides just look at the mat you haven’t properly perceived a crucial part of the work so that’s what I mean by essential the the bodily Sensations are essential for its appreciation now you might ask at this point Who’s The Authority when it comes to which kind of reception is adequate who are you to who are you to tell me how I should um appreciate zaro’s net or this and this Opera let me do whatever I want with my with that artwork sure of course of course you can um um but what I would say is uh is is is this I adopt here again something by Raa and Curry who also um thought of abstract monism I would say as an as a working hypothesis in order to categorize artworks I need to look at what what the artist’s intention was author intentionalism so if sarino says well look I built this net for you to go in because I want you to have these Pro propri receptions um well sure you can still do whatever you want with it you can also not even visit the museum that’s an option too uh but yeah that that’s not the the in a way the author intended at least um uh reaction towards this towards this artwork so I put forward author intentionalism um Alternatives would be to say let the recipients decide but then we all do our individual thing and no categorization is possible maybe you appreciate Mona Lisa because it’s so great to listen to what is going on in the surroundings in that lra room with all the other Museum visitors yeah you can do that but that’s not an appreciation of modelism or let the art critics decide these are all options of course on the table but I find author intentionalism um most appropriate here um now there is a way to proceive things directly and indirectly uh to give two examples the net or the slides there you can have direct prop receptions if you slide down or you walk into the net you have immediately these bodily Sensations unmediated by anything else you can go in blindfolded you can go into the net with um noise cancelling earphones Etc you immediately straight away Feel The Balancing Act or sliding down the slides this uh feeling of falling you have it straight away it’s in direct um uh proception you can have proper receptions indirectly uh we had this with Bridget Riley’s uh picture for where some of us might get vertigo and then have this sensation of uh not being in equilibrium anymore um so but that is mediated by your visual sense you you need first to look at it have a visual impulse on which you react by a bodily sense so that would be an indirect proception now does that count well yes it does count if the author intended that you have these mediated proper receptions if they are essential to the proper um appreciation of the work of art then indirect counts as well so I believe that art can be both directly and indirectly properly received more less also so um other than the attribute essential the parameters directly indirectly come uh come up on a spectrum yeah but when adequately engaging with h slides that is by sliding down the slides oneself we directly Pro receive and Inter receive our vestibular system senses that we are falling Etc Riley’s up art paintings on the other hand will induce prop perceptions only indirectly mediated by Vision um and I skipped this for while here’s a new piece by Sasha Walts um choreographer of ballet and modern dance and uh she she asks uh the audience to mirror the movements of the dancers on stage while in the audience in order to feel the movements inside so even there it’s it’s it’s it’s it’s going on or egel noon that’s the title she gave to her to her uh peace it’s also when you’re just watching people on stage your mirror neurons in your brain might start to Fire and have an offline simulation of what the dancers do on stage that would also be an indirect way if you do the movements yourself as the audience here in this picture you directly prop your s if you just watch uh but your brain so to speak stimulates for example this arm movement there then then um um if your brain just stimulates then it’s an indirect mediated by Vision an indirect uh propri reception um okay but in order for the artwork to be prop art indirect is okay indirect is okay but in order for the artwork to be prop out it must belong to the adequate realization or the reception of the artwork that it affects directly or indirectly the bodily senses so it’s it’s it’s important for the for the artwork okay skip this and we have noticed by now these things come in in degrees uh for Riley’s fall that the indirect proception might be a minor aspect but essential but minor and for the slides or the census deprivation tank or that b bodily Sensations um by Amanda Williams um um exhibition there it’s to a high degree proprioceptive so I have this uh I have this degree in so um to some degree very much predominantly maybe even only proper receptive this is all on on a spectrum and that is that is a possibility okay as long as it’s essential even if it’s just to some degree but it’s essential to it then it’s a proper receptive outwork um okay I’ve said that I skipped SK that quickly um and come to a a summary now um so I said here is a short version again something X is a realization or is a prop receptive artwork itself if you so wish if and only if x is a performance an artifact Etc or a combination thereof which appeals essentially to its recipient’s bodily senses in the sense of take a way the propr receptions and you don’t perceive half of the uh uh half of the um artwork and uh which qualifies as a work of art that has to be taken for granted so to speak up front or as a module which you can plug in with your favorite theory of of art okay and this essential appeal to the proceptive senses can be more or less direct or indirect and it come can come in degrees um fair enough um okay now here are some observations now um description versus evaluation um let me say this briefly without going through the slide in declaring that something is a an artwork without procept just an artwork this is purely descript well in in art Theory or Aesthetics it’s often taken as being being purely descriptive just sorting things into those things that are artworks and those things that are not as I could in my room here sort things into Furniture pieces and uh if you so wish artworks I could sort things into these categories without evaluation there might be bad Furnitures there are not but there could be bad Furniture in this room um there could be bad artworks there could be good artworks bad good F it’s it’s it’s not an evaluation same with saying that some artwork is a proceptive artwork it might be very bad art very bad proper receptive art I come to that later what that might be but there could also be very good proper receptive art but in saying that it is proper receptive art I have haven’t said anything about its quality its aesthetic quality that’s that’s simply what is on on this slide okay I click through it quickly and want to get to for further open questions or observations what is really exciting about prop receptive art is that it’s transcending the subject object divide in the following sense um there were within the fluxus movement uh or in some other participatory Arts uh the audience was asked to do something to press a button or or switch a lever or be there somehow with their bodies um but in in some cases or many cases uh the audience’s bodies were then integrated into the artwork fair enough maybe even the actions of the audience Within These surroundings were taken to be part of the artwork but as as material for the artwork but proper receptions weren’t in Focus what is crucial about proi receptive artwork on top of perform performative and um um interactive art art is that a piece of matter a material thing becomes a very special material thing becomes part of the artwork namely your body and to that material thing which becomes part of the artwork you have a very uh first person authoritative perspective you are the only person that can proceive that piece of matter that material part of the artwork I can’t prop perceive your body I can see your body I can uh could touch your body in principle but I couldn’t properly receive your body that is a thing that you own can do so we have a a very um peculiar uh sense of privateness here which is not the privateness of sensations of course I have my own visual per sensation you have your own visual sensation I have my own proceptive sensation you have your own in that Sensations inner phenomenology is always private the special privacy about proprioceptive art is that there that there is a material thing your body to which only you have a proprioceptive uh relation a proceptive um the possibility to properly receive it that is something you only have and by that the the subject object divide is is in a sense even uh uh more transcended uh than in pure um participatory art in participatory art your body might become a material bit of the artwork in that sense okay your body is also part of that but here uh that special subjective feeling of of your of your body um of that piece of the artwork is is is very is very special so that’s on this slide um again in written form I should have click through and uh in this this is the peculiar privacy here uh which I have already I’ve talked you through this I’ve talked you through this already now here’s here’s a problem I have maybe you can help me with that um the problem of emotions any kind of artwork you might say and be right with it uh author intentionally even and essentially provokes emotions or at least many kind of artworks do uh so they provoke emotions Joy pleasure disgust fear if you look at them and emotions are or cause bodily reactions depending on on your theory of emotions never mind so emotions are or cause bodily reactions and thereby Pro receptions or interceptions of these bodily reactions if you feel disgust then you have a proper reception so if that the the emotion of dis gust or fear is what a visual artwork um evokes then by that if that’s essential for the artist uh that emotion uh then it’s a prop receptive artwork by Def not by default but if it’s an essential part and emotions are very often essential parts of the reception uh of of an artwork if that’s the case case almost everything would be um a proppr receptive artwork to some degree at least and I find theories that tell me that everything is of that and that kind a bit useless I mean we have of course we have looked at conceptual space a lot and distinguished senses and categorized artworks via the senses Etc so some work has been done but it would be somehow unfortunate at if that was a result that every artwork is indirectly um a prop receptive artwork uh just because every artwork causes emotions emotions are bodily States you perceive these bodily States internally so it’s proper receptive um here’s the problem any kind of artwork might intentionally essentially indirectly to some degree involve bodily Sensations so everything would be indirect prop heart at least so slippery slope here now how can we avoid that and ad hoc solution exclude indirect prop receptions after all just say look um I want to uh restrict the term prop art only for artworks for which it is essential that you directly proceive and not mediate it via vision and emotions and then to the that would be a possibility I know whether it’s good or you simply concede okay fair enough every or almost every artwork is indirectly aopr receptive artwork fair enough as long as we can still within the realm of direct perceptions say that only very few or only some are direct prop art and most are not direct prop art um but almost every is indirectly prop out that would be a solution to that problem as well okay uh I skip Primacy of site and vision um I ski demarcation uh oh yeah this is uh this is the last slide um I said that um in saying that something is a proprioceptive artwork I have just described it categorized it no normative uh meaning involved at all no evaluation involved at all but you might justifiably ask but give us also some clue what makes a proprioceptive artwork a good artwork rather than a bad one I give you an example of what could be bad what would be bad bad proprioceptive art if it’s just there to pull the crowd into the museum because suddenly the museum is kind of a fairground ATT traction with roller coasters and slides and Nets and people can jump around and okay that’s just a crowd puller and to sell Museum tickets in countries where museums sell their tickets if that’s the case and that’s all about the the artworks they would be artworks they would be very shallow artworks okay if that was everything I think um propioception because of their uh special privacy and their special and transcending object subject divide Etc they have the potential to shake our self-image or to uh make us focus on this kind of self-awareness of our of the subject object divide in general uh they could make us aware of our physical role in society uh some artworks play with gender roles for example and you can even proper receive what it would mean to to um change gender roles uh there are artificial virtual reality artworks where uh you can do funny things with avatars which switch your body image so I I would think that those prop receptive artworks which make so to speak our self body image or which make propioception their subject matter so to speak that there lies a great potential for great proceptive art or as in sarino for example the net if you take this to a metaphorical narrative level if you in like inter interpreting a visual artwork and and seeing Clues like ahh okay this dog means um uh uh being um H likeing the English word now uh sorry Bruno Troy faithful this this small dog stands for faithfulness in this now the net stands for okay it’s obvious for being interrelated to other people it makes us being aware if we go there with a group into the net we are all dependent on each other you might take such metaphors on board and thereby make the whole thing worthy uh good piece of of art okay um yeah that’s it U these are the the sources of the pictures and um that’s the end of my talk thank you very much for listening thank you very much it was really great um know if has something to here or maybe maros Silva has something to say and yep okay okay uh thank you Marcus very very interesting work fascinating and I will start because I’m sure Bruno Thiago and many people will have many questions so I will abuse my a little bit of my role asator or something as the president here uh I have one question is more epistemological and the other one is more ontological in a sense and then I I just want to hear you a little bit more and then you go Brun can ask themselves other other questions and show some problems and the chat I’ve seen a good question here the chat as well so uh the first one uh is about the vocabulary you you use marus uh sometimes for for introducing the notion of propioception use the notion uh use the the the notion of uh perception or to perceive something from inside you use that as non not Aristotelian senses uh you kind of perceive gravitation use it as well uh you perceive the position of your body but on on other uh at other moments of your uh talk you use the the vocabulary of sorry I’m kind of trying to organize here all the windows that I open up just to see you guys uh you use the the the the vocab not the vocabulary which is you know things you know the position of your body you know from inside you you know the gravitation from inside and you try to uh by this kind of knowledge you try to coordinate body movement movements as well so from this epistemological point of view that is something that I was wondering is is why you didn’t use the the the very uh usual distinction that people do in epistemology which is this distinction between Kno how and that clausers uh why because you can uh by emphasizing no how you can have all many things that you want and avoid this more representationalist vocabulary as to see something from inside but then you can uh what is that you see from you see something from inside you use some kind of true representation of something you need a true representation but what what could be a false representation false uh inner or internal representation this is kind of award maybe if you introduce some notion of know how which is totally compatible what you’re saying about this embodied knowledge a kind of competence a kind of ability this kind of problem or challenge could be uh put put aside in a sense yeah and from the the the ontological I would like to hear you more about this and how it could work work as well and second the second question on on the onology I think it’s more properly meant by the is a problem that you you already recognize this problem you acknowledge that at the end of you but I think it’s the the problem is larger I think the problem is kind of big for you uh it’s the problem about the the the boundaries yeah the limits or or the kind of demarcation thing because if you take if we we take this definition you g gave us this condition a that you gave us I think you you the the risk that you you have there is to trivialize the risk of trivialization of the the proper the the the kind of concept that you are using of prop art in a sense why maybe you can introduce some distinction between this sufficient condition necessary condition because if it’s if it is a sufficient condition this all artwork appeals direct or indirectly to somebody sense I think there is there’s no way that you can avoid that all artwork appears direct indirect to somebody sense even though the abstract ones you might you may recall the very meaning of etics that the Greek us it yeah that totally direct connect to sensation this kind of thing but maybe I mean if it’s sufficient condition you are in trouble it’s totally in trouble because I think it prize any kind of artwork appeals for that and maybe all things in direct or indirectly might appeal for L things as well so I was thinking uh if it should not be sufficient but maybe necessary condition but maybe you need some other things to make this distinction from Amusement part should not be a propose proception proceptive artwork in that sense and then I was thinking about the the concept of intentionality maybe you I don’t know if it is used even when you you say that this appeals directly it it seems to me that maybe you’re introducing some notion of I don’t know I’m just thinking loud here of intentionality I want to to hear you about that yeah and the third thing is more about demarcation as well uh I think for this traditional art or art work this distinction uh a classical distinction between artist and a a spectator is very Central in a sense yeah the the the kind of artist musician or visual art and The Spectator the guy or the who is there to to enjoy the the artwork monal and music something like that but then when you introduce this notion of prop perception there I think this there’s is kind of blurred yeah because you lose this totally the the maybe artist is a kind of a spectator and The Spectator is a kind of artist as well this is interesting from the point of view the FL of art but maybe from the point of view of this demarcation thing you have another problem because everything can be a proper art in a sense everybody can be an artist and a sense everybody can be a spectator of proper arst in a sense it’s interesting but difficult that’s from a conceptual point of view but thank you Marcus i’ would like to hear your well many thanks this is extremely helpful for me um starting with knowing how knowing that that’s that’s great to take that that on board um um because of the many things things you said already about knowing how knowing that and also because um uh prop perceptions uh indeed uh most of the time come unnoticed they are not there as we are not there’s no no propositional attitude towards them so to speak I have to be uh really explicitly asked uh um tell me where your legs are without looking at them and then you become aware of this prop perception so it’s it’s really extremely close or maybe it is um in in in our day-to-day life prop perception is really more of a knowing that rather than it’s more an ability or enables us at least to do things rather than um being aware of something as in knowing that it’s not this kind of propositional attitude so it’s I I I’ll simply um will think about that further but definitely take it on board this is many things super helpful um by the way uh there are cases also where I mean there are people um that blind people that can’t see there are very rare cases of people that lose their proper reception um there are certain illnesses or brain um injuries where people have lost uh that the the the prop perception they couldn’t they can’t they don’t know from the inside where their legs arms Etc are and these people had to learn again how for for example to grab a glass and lift it because there’s there’s no they didn’t know where their arm is where their fingers are so they had to do that visually only and this is extremely difficult to that do that by just just Vision um so it’s it’s it’s a sense that is totally unnoticed to us as long as we have it as long as we lose it we lose all these abilities and skills as in in knowing in knowing how so many thanks for that um for that dis distinction now demarcation sufficient versus necessary conditions I mean um for for one thing um so yeah trouble I recognize that straight away let me try to defend it at least um amus amusement parks or yoga exercises uh Etc um as long as they don’t happen uh now I take in think of um my Clause B it has to be recognized as an artwork already only then I ask whether it’s a a propri receptive artwork or in other words for the the the the ne to the necessary to the necessary conditions belongs also that that thing or performance or whatever has been recognized as a work of art and only together A and B are are meant to be sufficient as the uh definition or explication stand now so I I get amusement parks out uh or yoga exercises are not per se immediately art prop receptive art via this definition if you start practicing yoga in a museum and a curator or an artist tells you look this is part of my artwork by institutionalism then you have uh fulfilled that necessary condition and then it would be um um so to together with the proper receptive perceptions and artwork but your question is of course deeper let us agree on Clause B we have these things in a museum uh so they they do uh uh qualify as work of art and now it might still be trivializing that just everything in the museum is proper receptive via for example the emotions or because we are embodied creatures we will have some kind of prop perceptions going with it so I have indeed to be careful um now just in order not to spend more time on on this issue um uh a very very elegant way uh to at least postpone the punch of your very uh helpful critique is to say okay let let me think further and uh unless I have done my work I will in future only phrase it in terms of necessary conditions and postpone postpone the sufficiency uh for for a while so let me do that for now but I I recognize your I recognize your your point um so moving to your third question or I put it down as a third question intentionality um um maybe you have to repeat the questions of course it is that I very quickly say it’s author intentionalism it depends on what the artist wants us to do that’s of course controversial to to to do that um the I just thought that the alternative if whether an artwork is visual or auditory or proceptive is only for the uh receivers only for the um Spectators so to speak then no categorization works because it’s too individual so my my only so to speak the only grasp I can get onto things is in talking about author intentionalism that’s just a helping hand so to speak that’s maybe not entirely satisfying um I I acknowledge that now another thing that is blurred as you say is artist versus spectator um or performer uh that I don’t mind that that much I I agree there it might be blurred um but that that would be fine so uh now take take again the net or the the slides here we clearly have an artist who conceived of that artwork and maybe a team that built then one material part of the artwork and the artist also advises us to slide down so to be with our body part of the of the artwork uh and and now you may phrase it as I become as a spectator also a performer within this artwork or my body becomes a material part of the of the artwork um and uh but what what is important here for me is just that there’s one material part of the artwork um or the performance uh to which I have a propr receptive relation and the proception that is going on is important for the uh appreciation of that that work that that would be fine um by the way here’s a I mean that’s that’s clear to everyone here’s um a form of art for which this is always or at least often the case namely dance I I had Sasha wals as a choreographer um but dance if you if you yourself are a dancer you are uh always or often the if you so wish the artist if you improvise yourself your dance uh you might just be the performer if if you do your movements on the advice of a choreographer then you are just the performer of the artwork an artist has created um sometimes you are just a spectator um just sitting there and watching the dancers on stage so I I agree um there would be you can say a lot about uh artist versus performer versus spectator um but that’s fine as long as the performance uh for it is it’s essential that I I prop receive some something so I’m I’m I’m I’m least worried about about that because I I think I can integrate that into the the theory in that I just say and look here are three categories about which you can talk and what what’s happening with that kind of prop receptive artwork whether you’re the artist The Spectator or the or the performer now I hope I have uh addressed at least all your questions which I as I said find extremely helpful for me thanks yes um I think we have here a question in the in the chat uh I don’t know if Beatrice has uh sumed up this yeah uh sarasen net should not count as extra receptive art given that the relations with the context are what generates the vertigo heart speeding Etc okay so that would be the I mean the word here is exceptive uh and I I think I agree with with what uh Leonardo you say um I would classify that really as a proceptive artwork and so um the the visual bits if you just see it EXT receptively um uh are just not enough you haven’t seen the they haven’t perceived the essential part so it’s it’s not something which we could call extracephalic of the of the net uh that introduces directly your uh bodily perception um uh the vestibular system fires so to speak uh your muscle tension uh equilibrium Etc um but that it induces vertigo that is an indirect proprioceptive part because that is mediated by Vision by V looking 25 down so I’m I’m happy to say that artworks proceptive artworks are multi-dimensional so to speak uh some bits are indirectly proper received others are directly proper received and that that was that I got from your that was highlighted in your question as well vertigo is extra receptive other things might be purely intert receptive so thanks yeah for this question as well uh maybe we could um he he has actually marus uh some other questions but maybe we could um ask Thiago if he has some question if not we go to to Leonardo’s uh next question and if there is I I have myself a question so t do you do you have a question there no no you can do do it your question okay uh so uh Beatrice can you please put the yeah thanks sotic matist theory of art such as dewis which sees art as experience better suited to do with prop art um great question and the short answer is yes I have you I have here’s a confession I know about um art as experience I have it sitting on my desk in my University office and I feel the same that as an art Theory uh this fits greatly uh to the idea of propr receptive art um because these are kinds of exerience which because they concern our inner body so to to speak they they are such striking or they can at least um uh afford striking experiences and so um I I need to get further into DWI Theory and I I I I I see it uh I mean your your question implicates that you think that way too and I me too let me confirm that so thanks great yeah okay so uh I then just just question uh uh myself and then uh I think we we are running out of time so we I I just ask myself so um when you were talking about uh essentiality uh you you gave me the impression that uh the intended content from the artist and also the firsters experience are necessary conditions to to uh proceptive uh art but then uh I I I have a problem with this actually because the the uh uh the intended content is actually uh third person’s uh experience so uh if if you put the intended content as a as a necessary condition you would have to to have a a real and and really strong uh causation there and uh it it be a little bit difficult to to sustain that I think so um um so let let me let me rephrase your point um uh let let us look at visual art as a contrast as as a sample class when Leonardo DaVinci painted monaa he intended us to have certain visual experiences and of course there are there are blind people wouldn’t be able to see it at all visually impaired people color blind people Etc so also there of course what uh DaVinci intended can be is is not totally in his control whether that works or not for proceptive artworks I would think that’s basically the the same because and again only more or less only on average Etc we share bodies so we can be not not at all certain um but there’s a high chance that at least many people in the audience will have the same kind of pro receptions so I despite this this strange privacy of these prop perceptions which goes beyond the privacy of all our sense inner Sensations uh namely that it’s my body I I only prop perceive and not yours um despite that which is really special about propioception despite that we we would still think uh because of being so similar in in bodies by and large of course yeah depends on how fine grain you look at our bodies but by and large our bodies are so similar that we have the same case as in Vision it’s a plus minus uh um similarity there so a lot of what is intended will also be caused so so to speak I think most of it sufficiently enough yeah so uh I I think we ran out of time I I thank you very much marus uh I then pass the the word to Thiago he will uh close the the the session and I thank you again all for you Mara and also for the spfi and the Gap so thank you many thanks uh it was a pleasure thanks for the questions I’ve made on my iPad a lot of notes thank you Thiago are you going to