Page 102 - Contribution To Phenomenology
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THE BODY AS    PAN-CULTURAL      UNIVERSAL           95

              meaning  is  forged.  Straight  edges  produce  straight  lines,  as  both
              Euclidean  constructions  and  projective  sightings  presuppose.
                Viewing  the  evolution of stone  tools  from a  sensory-kinetic perspective
              provides  understandings  of  the  way  in  which  a  hominid  sensorium
              functions.  It  furthermore  provides  understandings  of  analogical  thinking,
              the  roots  of  which  lie  in  a  gnostic  tactility-kinesthesia—"gnostic"  in  the
              original etymological sense of  "knowing." Analogical  thinking is both basic
              to  hominid  thinking  and  basically  corporeal.

                                             Ill

              The  tactile-kinesthetic  invariants  I  have  described  are  pan-hominid
              corporeal  invariants:  what  we  each  separately  discover  in  our  individual
              mouths  is  essentially  the  same.  I  would  like  now  to  consider  how  a  pan-
              hominid corporeal  invariant  is  linked  to  an  /nr^rcorporeal  invariant,  or  in
              both  finer  and  broader  terms,  how  fundamental  tactile-kinesthetic
              experiences,  being  the  ground  of  fundamental  visual  experiences,  are  in
              turn  the  ground  of  fundamental  social  experiences.  I  will  in  these  terms
              progressively  elucidate  how  a  fundamental  intercorporeal  semantics
              informs  our  social  lives.  To  begin  with,  I  will  describe  a  corporeal
              archetype  within  that  semantics,  perhaps  the  most  basic  corporeal
              archetype  insofar as  it both anchors and  intensifies  our sense  of  ourselves
              and  anchors  and  intensifies  our  sense  of  others.
                When  we  close  our  eyes,  another  world  comes  to  the  fore,  and  in  a
              regular  cycle  every  day  of  our  hves.  Though  illuminated  from  time  to
              time  by flashes or  dots  of  light,  by  images,  and  by  dreams,  this  world  is
              typically  described  as  quintessentially  dark.  There  is  more  in  the
              experience  of  sightless eyes  however than a quintessential darkness. When
              we  close  our eyes,  we  exit one  sensory world  and  enter  another.  With  the
              closing  off  of  vision, a  clear-cut  boundary is  established  between  an  outer
              world  and  an  inner  world—or  in  more  precise  sensory-kinetic  terms,
              between  a  seen  world  and  the felt  tactile-kinesthetic  world  of  my  body.
              The  purely  tactile  boundary  felt  between  myself  and  the  outside  world  is
              in  fact  much  less  clear.  Indeed,  tactile  boundaries  between  ourselves  and
              what  we  touch  are  vague  and  in  a  way  we  cannot  clarify.  Moreover  we
              cannot  perform  any  tactile  act  which  would  nullify  our  surface  tactility
              and  thus  possibly  intensify  sight  in  a  way  commensurate  with  the  way  a
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