THINKING THROUGH THE CELLO

Tim Ingold

[email protected]

Department of Anthropology
School of Social Science
University of Aberdeen
Aberdeen AB24 3QY
Scotland, UK

November 2016

To appear in Jill Bennett and Mary Zournazi (eds.) Thinking in the World: A Reader. London:
Bloomsbury.

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Abstract

Why do we think that thought is silent? This is an essay about sound and silence, and their
relation to thinking. Throughout, I draw on my experience of playing the cello. I show how
what we often take to be silent, or at least tacit, is actually alive with sound and feeling;
while to the contrary, what can be explicated is actually tacit. In a printed musical score,
notes are specified and articulated, but the score itself is silent. In performance, however,
every note becomes a line of movement, and every sequence of notes a series of inflections
in the line. This still begs the question of what we mean by sound, and I argue that sound is
neither a physical impulse nor a mental sensation but a phenomenon of atmosphere
brought about by the blending of the cosmic and the affective. Like light, sound is generated
by a fission/fusion reaction that unites us with the cosmos even as it divides us against
ourselves. This explains the combination of sedentism and flight thanks to which I can be
seated with my cello while the sound of my playing and thinking explodes into the furthest
reaches of the auditory field. Thinking flies as, in my playing, sound does too. I conclude that
thinking is not cognitive but atmospheric.

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Opening declaration

‘I have nothing to say and I am saying it’. So began the composer John Cage, in his Lecture on
Nothing, presented in New York in 1949.1 Behind the play on words, Cage was being deeply
serious. In this essay I want to explore what he was getting at, and to draw out its
implications for the way we think, not just about the world we inhabit but about thought
itself. In the spirit of Cage, I shall conduct my inquiry by way of an instrument. That
instrument is a violoncello. In an ideal world, I would be present in person with my cello as
you read this, so that you could both hear me speak and listen as I play. Instead, I will have
to ask you to imagine my voice and my performance. I realise that this is a big ask, but it is
critically important that you attempt it, since unlike Cage, I do have something to say, and it
is to show why a thinking that opens up to hopes and dreams – that is, to life – must be one
that is attentive to things, that brings them into presence so that we, in turn, can be present
to them. For only in the presence of things can we feel them, and only through feeling them
can we respond. My inquiry, in short, is into the conditions of what Cage called ‘response
ability’, though for reasons I shall explain below, I prefer the term ‘correspondence’. I want to
establish the possibility of a form of scholarship that sets out neither to understand the
world around us, nor to interpret what goes on there, but rather to correspond with its
constituents.

Imagine, then, that I sit down to play. Let us suppose that I play the opening bars of the
prelude to the third suite for unaccompanied cello by Johann Sebastian Bach. If you are
familiar with the piece, or if you are a cellist yourself, you will know that these bars launch
the suite with such pomp and certitude as if you were throwing open the ceremonial doors
to a great banqueting hall, after which the guests start streaming in. Later, they will perform
a series of courtly dances, making up the following movements of the suite. The first bars of
the prelude are tantamount to a declaration: let the festivities begin! Yet, in playing them, I
have nothing to declare. No coded information is smuggled in with the notes. It is not as
though I wrap some contraband into the sound which you unpack upon receipt, like the
contents of a parcel. Nothing is sent or received. The bars stand only for themselves. Their
force – to adopt a technical term from the philosophy of language – is illocutionary: it
resides in the performance itself and what it achieves, not in some semantic content to
which it refers.2 To play is to create an auditory ambience in which anyone within earshot
can participate. And to listen is to harness one’s own awareness to this ambience, to join
with it and respond to it. In this your entire body becomes an extended ear, alive to the
sonorities of the environment. When I play those first bars of the prelude I throw open the
doors to the suite; as you listen, your ear-body sweeps through them into the gilded rooms
that continue to unfold as the performance proceeds.

And this, precisely, was Cage’s point. He wanted us to acknowledge that to listen is to be in
the presence of sound, to lay ourselves open to it and attend, not to extract some meaning
from the sound that has first been encoded into it and for which it serves as a vector of

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transmission. His aim, as he put it, was to ‘set about discovering means to let sounds be
themselves rather than vehicles for man-made theories or expressions of human
sentiments’.3 To achieve this, he explains, the first step is to cease thinking of sound, in the
first place, as music, and of hearing as what we do, specifically, when listening to music. For
no sooner do we declare that what we hear is music than we impute to it an intention by
which it is distinguished from the unintended sounds of nature, whether of the wind or rain,
or a waterfall, or thunder, or even the nervous excitation or heartbeat of one’s own body. If
there were no sound not deemed to be musical, then these ‘natural’ sounds would be
expunged from conscious awareness. We would be deaf to all sound that does not disclose a
motivation and that leaves no expression in its wake. That is why we are inclined to speak of
the ‘silence of nature’, despite all the noise it makes! Straining to discern the music from its
background, we close our ears not only to the terrestrial and subterranean echoes of earthly
existence but also to the celestial sonorities of wind and weather.

In effect, this is to split music from life. ‘When we separate music from life’, said Cage, ‘what
we get is art (a compendium of masterpieces)’.4 The cello suites of Bach are commonly
considered to be masterpieces. But that is because the arbiters of high culture have decreed
that they be apprehended not as sound but as formal compositions rendered in sound,
much as the portraits hanging on the walls of the banqueting hall are rendered in paint. But
colour is everywhere, not just in paintings. So too, sound is everywhere, not just in music.
We do not only see, as art historians sometimes seem to think, when looking at paintings;
nor do we only hear when listening to music. A sound does not project itself as the
expression of a thought, nor does it depend on other sounds for its elucidation. It is there,
becoming itself, in all its urgency and singularity, unimpeded and energetically broadcast,
‘occupied’, as Cage put it, ‘with the performance of its characteristics’. 5 To attend to sound as
sound (or likewise, to attend to colour as colour) is to feel these characteristics – of duration,
pitch, amplitude and timbre – and to respond to them. Once we allow sounds to become
themselves, once we attend to them as such – and not to anything that might be being
conveyed by their means – we cannot remain unfeeling in their presence. The feeling of
sound: that is what Cage meant ‘response ability’. 6 This feeling invests both my playing and
your listening with a quality of attention.

The move, in Cage’s thinking, from intention to attention is critical. For if intention separates
subject from object, mind from nature, art from life, attention restores the player or listener
to that which is real and present in the immediacy of lived experience. Etymologically, the
word ‘attention’ comes from the Latin ad-tendere, meaning ‘to stretch toward’, and it well
describes what happens when I begin to play the cello.7 Perhaps I intend to practice or
perform. I take the instrument from its case, apply rosin to my bow, adjust the endpin, take
my seat and tune up. But once under way, it seems that I and my playing are one and the
same. I become my playing, and my playing plays me. I am there, not in front but in the
midst of it, animated by its gesture and rhythm. I feel the pressure of the bow against the
strings and the vibrato in the left hand, as I stretch the sounds from the resonant chamber of
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the instrument as if they were viscous or elastic filaments. Listening, you stretch your ears to
join with them, as indeed I do myself, ever responsive to their perceived tonality. The thread
of sound and the thread of feeling twist around one another, as each – in its ongoing
movement – answers to the other, much as a stream, swollen by rain, answers to the earth
through which it runs while at the same time continually reshaping it.8 Like stream and
earth, sound and feeling co-respond. That is what I mean by correspondence.9 And if I prefer
the term to Cage’s ‘response ability’, it is for no other reason than the emphasis on the
mutuality of the response, of going along together, conveyed by the prefix, co-.

What then is silence? In a world of life, according to Cage, absolute silence would simply be
impossible. Silence could never be anything other than a quality of ambient sound, reliably if
unpredictably present to those with ears to hear – ears not so preoccupied with their
owners’ intentions as to be inattentive to the world. ‘Where these ears are in connection
with a mind that has nothing to do ’, as Cage put it, ‘that mind is free to enter into the act of
listening, hearing each sound as it is, not just as a phenomenon more or less approximating
a preconception’.10 You were listening long before I began to play. You heard my chair-legs
squeak on the floor as I took my seat; you heard me tune up; you heard the rustling crisp-
packet of your neighbour and the cough from the back row. And now you hear sound
pouring from my cello. What’s the difference? That there is a difference is not in doubt, since
with my playing I command your attention. ‘Listen to me’, I demand, ’and do not be
distracted by coughs and crisp packets’. I would not go so far as Cage, however, in attributing
the difference to the existence in my mind of a preconception, which the sound from my
instrument is purported to deliver to your receptive ears. As I play those opening bars of
Bach’s third suite, I am declaring but have nothing to declare. I am opening the doors to the
banqueting hall but not providing an inventory of its contents. However certain the
declaration, it does not give voice to a preconception. It has no propositional content. ‘I have
nothing to say’, to repeat Cage’s own declaration, ‘and I am saying it’. The paradox is that if
silence lies in having nothing to say, how come that it can be so overwhelmingly sonorous?
Conversely, does saying something really make any sound at all?

The sound of feeling

‘Whereof one cannot speak’, concluded Ludwig Wittgenstein in the Tractatus Logico-
Philosophicus, ‘thereof one must be silent’.11 Taken literally, this austere pronouncement
would consign to silence all that we conventionally call music, along with every other
occurrence of ambient sound. Nothing could surface from the ocean of silence save that
which can be set out, linguistically or mathematically, in the form of logically connected
propositions. This might seem an extreme position; however it is not so very far from one
that still commands widespread acceptance. This is to argue that whatever cannot be
explicated belongs to the domain of the tacit. We owe the distinction between tacit and
explicit domains of knowledge to the philosopher Michael Polanyi. 12 Of course Polanyi’s
purpose was not to denigrate what he called ‘the tacit dimension’, but rather to highlight its

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contribution to thought. Knowledge, he insisted, is not confined to explicit representations.
It rather rests upon habits and sensibilities of perception and action that develop through
practice and experience, but which adhere so closely to the person of the practitioner that
they remain out of reach of explication or analysis. The craftsman, it is supposed, is unable
to explain, in propositional terms, how he works with the material to achieve his results. As a
cellist, I cannot explain what happens when I sit down to play. What can be explained,
Polanyi argued, is but the tip of an iceberg compared with this vast reservoir of knowledge
that lies beneath the surface but without which nothing could be practicably accomplished.

But why should Polanyi have used the word ‘tacit’ to refer to the submarine dimension? And
what might he have meant by it? The word itself is tantalisingly ambiguous: derived from the
Latin tacere, ‘to be silent’, it is commonly used to refer to that which remains verbally
unstated. But there are plenty of ways of making one’s presence felt, sonorously and audibly,
without the use of words, as for example when I play my cello or hum a tune. And there are
plenty of ways of using words that do not amount to statements with propositional or
representational content, as in drama and storytelling, poetry and song. In an extended
commentary on the tacit/explicit distinction, the philosopher of science Harry Collins makes
it very clear that for Polanyi, the opposite of ‘tacit’ is not precisely ‘explicit’ but rather
‘explicable’.13 The tacit, in other words, does not refer to things that could be made explicit
but happen not to be – perhaps for reasons of discretion or security – but rather to things
that cannot be made explicit. Now for Polanyi there are two necessary steps to explication:
these are specification and articulation.14 To specify is to pin things down to fixed conceptual
or referential coordinates; to articulate is to join these coordinates up to form an integrated
assembly, rather like joining points on a graph. What cannot be specified and articulated
cannot be explicated – though it can of course be known. This knowledge – unspecifiable,
inarticulate and non-explicable – inhabits the domain of the tacit.

Granted, however, that there are ways of using words that are non-propositional, is it not
also the case that there are ways of explicating propositions that are non-verbal, as for
example in mathematics and symbolic logic? Could not music also be one of these ways? Did
not Bach, for example, specify that I should open the third suite for unaccompanied cello by
playing a middle C? And are this and the following notes, making up those first two bars of
the prelude, not articulated to form an elegantly structured phrase? Might it not be argued,
then, that a musical structure is indeed explicated in performance? Never mind that the
music is composed of notes and phrases rather than letters and words, is the principle not
the same in both cases? The notation of Bach, according to the visionary landscape architect
Lawrence Halprin, ‘is as precise and controlling as he could make it, what was left for the
performer was a matter of technique and interpretation’. 15 Reaching out over the centuries,
Bach leaves us with no alternative but to follow his specifications to the letter. The
performer, for Halprin, is a mere technician, his task to execute in every detail an
immaculately conceived design. In principle, a machine – less fallible and untroubled by
affect – could do a better job! Now there are of course many ways in which this view can be
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faulted. It is historically inaccurate, in that Bach was writing long before the idea of the
composer as the independent and sole author of complete musical works had even
emerged.16 And as anyone who has tried playing Bach’s music knows all too well, so much is
left unspecified in the notation that the same piece, in alternative hands, can sound
altogether different. But that is not what presently concerns me.

My point is rather that it is simply impossible for a living being to play without feeling –
without the awareness we have of our own movement, and of its correspondences,
otherwise known as kinaesthesia.17 With the cello as any other musical instrument, playing
and feeling, movement and attention, are two sides of the same coin. 18 Where there is life
there is feeling and, as Cage taught, where there is feeling there is sound. The note printed
on paper has no feeling, and is therefore soundless. But as soon as I begin to play, the note
erupts into sound, into life. To feel is not to pin things down but to join with them in their
growth and movement. Thus what is notated on the score as a point becomes, in my playing,
a sustained and vibrant line. To play even a single tone, such as middle C, is no simple matter.
It is rather like drawing a straight line freehand. To achieve this one’s body must be finely
balanced and tensed throughout, with an acute awareness of its immediate environs, while
the elbow of the right arm, holding the pencil, describes a trajectory at once outward and
backward as the angle of the joint varies from obtuse to acute and the wrist adjusts to
compensate.19 Bowing involves similarly controlled movements of the right arm, elbow and
wrist, to ensure that the position where the bow remains in contact with the string, between
bridge and fingerboard, remains more or less constant. In short, the singular tone arises
from a complex choreography of highly attentive, mutually attuned movements, of arm,
wrist and bow. Feeling lies in this kinaesthetic attunement.

The ancient Greeks called it harmony (from harmos, meaning ‘joint’), a word that originally
had no musical reference at all. It could refer to the joining of beams and masonry, in the
building of houses, temples or ships, but also to the joining of limbs in the body. 20 From the
root syllable *ar, common to both the noun harmos and the verb ararisko (‘to join’), are
derived a host of other words including the ‘arms’ of the body, the ‘arts’ of the builder and
of course ‘article’ and ‘articulate’. In modern usage, however, despite sharing the same root
meaning of the join, ‘harmony’ and ‘articulation’ have parted company. Whereas harmony,
now commonly applied to musical contexts, retains the sense of the joining with or
correspondence of sympathetic movements, articulation has come to mean the connection
of rigid and discrete parts. Such is the articulation of the bones of the skeleton which, in
anatomical reconstruction, appear joined up rather than with. Divorced from life, the bones
feature as the elements of an assembly. So too, with standard notational conventions,
musical notes are joined up on the stave, connected by ligatures. This distinction between
joining up and joining with, or between articulation and correspondence, is critical. One is an
exterior connection, a coupling of parts each of which is already formed to its own
specifications. But in the other, every movement participates from the inside in the

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generation of every other, while at the same time distinguishing itself. I call this latter
process interstitial differentiation.21

Compare, for example, cutting timber with a saw and splitting it with an axe. The cut is
transverse: it divides the timber into separate pieces, which can then only be re-joined side-
to-side or end-to-end. That is exterior articulation. But the split is longitudinal: it follows the
grain of the wood, laid down when it was part of a living tree. The axe joins with the timber,
while differentiating it from within. That is interstitial differentiation. It is no accident that
the word ‘skill’, by which the allegedly tacit knowledge of the craftsman is commonly known,
carries this precise connotation of splitting from the inside. The word has its roots in Old
Norse skilja, ‘to divide, separate, distinguish, decide’, and is an etymological affine of ‘shell’, a
casing opened up by splitting or cleaving along the grain. Skill, then, means finding the grain
of things and bending them to an ever-evolving purpose.22 So to return to the cello, as I
move from note to note in the musical score, am I assembling the notes as I would a piece of
timber already sawn into logs? Is my performance an articulation? Certainly not! A sustained
tone, as we have seen, is a movement in itself. To transition from tone to tone is then to
effect a movement in the movement. Dance philosopher Erin Manning calls it an inflection
of movement: it is really ‘movement-moving’.23 Through inflection, every tone – itself a line
of movement – emerges with its potential directionality, differentiating itself from what
came before. Musical form thus arises not from the connection of points but from the
inflection of lines. To play a phrase such as in the first two bars of the Bach suite is not to link
predetermined tones into a chain but to split them from the inside through a series of
inflections. It is an exercise not in specification and articulation but in interstitial
differentiation.

The silence of the score

This exercise of differentiation is anything but ‘tacit’, if by that is implied silence or stillness.
On the contrary, it is alive with movement, and vitally sonorous. Specification and
articulation might be keys to logical explication, but they lock the door to feeling. And
without feeling, there can be no sound. This brings us, however, to a surprising result. It is
that nothing more effectively silences the world than representing it in explicit, propositional
terms. Pinned down and joined up as on the printed score, reduced to mere notes, sounds
are rendered lifeless and inert. They have no room to move or breathe. Indeed it is the
explicit that is tacit, not the reservoir of skill or know-how for which Polanyi reserved the
term. The latter, on the contrary, is turbulent and sometimes noisy. It swirls around in
between the points that explicit knowledge joins up, like waters flowing around and
between the islands of an archipelago.24 We have been persistently misled, I think, by the
analogy of the iceberg, with the picture it presents of explicit knowledge at the tip and the
mass of inexplicable know-how below. For far from having come to rest, frozen solid in
submarine psycho-corporeal depths, know-how is restless, fluid and dynamic. Above all, it is
not embodied, in the sense of having been deposited in an inert and stable substrate,

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housed in the lower levels of some imaginary column of consciousness, but fundamentally
animate – immanent in the sensuousness of a body that is mobile, alive and open to the
world. Such a body, far from retreating into silence, dwells in sound.

With this result in mind, we can proceed to reformulate Wittgenstein’s famous injunction
from the Tractatus. To speak, for Wittgenstein, meant the same as to explicate. And
explication, as we have found, stops up feeling, and condemns us to silence. But if sound is
what we want, or what we mean to hear, then we should cease our attempts at explication,
remove or brush aside the stoppages that drive feeling underground, and allow things into
sentient presence. Whereof one cannot speak, thereof let it resound! Consider again the
difference between the melodic line that I stretch out from my cello and the sequence of
connected notes printed as black dots on the stave. The line weaves its way through the field
of ambient sound in rather the same way as a path through the variegated undergrowth of a
forest or the grasses of a meadow. Made by walking and traced along the ground, the path
marks a line of differentiation. It emerges from the interstices of the ground in the very
course of walking it. But while the path-line thus differentiates itself from the ground, the
reverse does not hold. As philosopher Gilles Deleuze puts it, in his reflections on difference
and repetition, the line distinguishes itself from the ground ‘without the ground
distinguishing itself from the line’.25 The difference is unilateral. So too the melodic line,
while it distinguishes itself from ambient sound, never parts from it. The line is rather woven
into the texture of its ambience.

With the notes of the score, however, it is as if the line of sound were detached from the
matrix of its generation and divided into measured segments. Each segment is then stopped
up into a point, and each point staked out upon a flatly homogeneous surface. Every note is
a stoppage, reconnected to other notes in sequence by means of ligatures which bear no
more relation to the surface than does the surveyor’s rope, tied between stakes, to the
ground. Where the path differentiates itself from the ground without ever parting from it,
the rope stands high and dry above the ground across which it is stretched. The path is the
trace of a movement, the rope a connection of stoppages. As with the stakes and the rope,
the notes of the score and their connecting ligatures are indifferent to the surface on which
they are printed, as indeed is the paper to the notation. The paper and the notation
correspond, respectively, to two aspects of indifference that Deleuze calls, respectively,
‘white nothingness’ and ‘black nothingness’.26 In the case of the score, the surface is a sheet
of white paper, while the notation is printed in back. The score is literally black-on-white. On
the score, difference is bilateral: as the notes and ligatures distinguish themselves from the
paper surface, so the paper is distinguished from the notation printed upon it. Like an
exploded diagram, the score specifies the elements of a completed work and shows how
they articulate. Moreover it is silent. Its silence is the empty, exoskeletal silence of a world
already broken up and dismembered, all energy spent, eviscerated of any traces of affect.

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There is however another kind of silence which is just the opposite. It is the silence of a
world so compressed, so concentrated, so tightly knotted, that nothing can move. 27 This is
not the silence of an already exploded world, but of a world on the verge of exploding. It is
the silence of the predator, all eyes and ears, waiting to pounce, or of ice before break-up, or
of the eye of the storm. Let us return to the score of the third prelude and to the very first
note. It is middle C, and is marked by a solid black dot, crossed through by a ledger line one
up from the five lines of the stave. Remember that in Bach’s day, composition and
performance were not clearly demarcated as they are today. One could almost think of the
work of composition itself as a calligraphic performance, carried on not with instrument and
sound but with pen and ink. We can imagine Johann Sebastian (or just as probably, his wife
and copyist Anna Magdalena), pen in hand, hard at work on the score of the third suite.
Think of how much mental energy is concentrated in the gesture by which he digs his pen
(or she hers) into the manuscript to inscribe that first middle C. Think of the attention and
expectancy that go into that black dot! Is the silence of the score, then, so empty after all?
Perhaps it is so, in the mechanically printed reproduction, filed away in a drawer or on a
shelf. But what of the handwritten original?

In his essay Point and Line to Plane, the great pioneer of modern abstract painting, Wassily
Kandinsky, considered the dot of musical notation as one exemplar of the elemental point. 28
Like any other element, Kandinsky argued, the point can be experienced either outwardly or
inwardly. Outwardly, the point or dot is simply doing its job within the conventions of a
notational system, just like a well-functioning tool in a tool-box. In a verbal text the full stop
or punctus indicates the end of a sentence. A dot on the stave-score indicates a note. And so
long as we remain on this outward level of the ‘practical-useful’, to which we are
accustomed by force of habit, we remain indifferent to the stop or dot as a figure in its own
right. Context is everything. But suppose instead that we wrench the element from its usual
habitat and enlarge its mass. As we do so, Kandinsky writes, ‘as we gradually tear the point
out of its restricted sphere of customary influence, its inner attributes … come out of the
depths of its being and radiate their energy … In short, the dead point becomes a living
thing’. Freed from the practical-useful, the point begins a new ‘inner-purposeful’ life as an
independent being. To apprehend the point inwardly is to feel its explosive potential. 29 With
this the dot that marks middle C on the score appears no longer empty but full to bursting. It
is like a seed on the point of germination.

Were Bach and his wife, then, methodical gardeners, planting their seeds in orderly rows
such that they will burst forth in an ever-growing tangle of vegetation? Digging the pen into
the manuscript, as the gardener would press seeds into the earth, they would have sown
their notes not in a void of silence but in the field of ambient sound, whence – in
performance – they would take root and grow. Thus, far from inheriting from Bach a
comprehensive set of specifications for the execution of an already completed work, as
Halprin would have it, we find ourselves tending the garden that he and Anna Magdalena
planted together – a garden that will continue to grow for as long as long as their music is
10
performed. Playing the music of Bach, I draw the threads of sound from the dark, resonant
cavity of my instrument, much as green shoots rise from their black, earthen depths. In
performance, the inner tension compacted in the dot of the score is transferred to the
outward tension of the string. At the moment when I apply the bow and the string begins to
vibrate, the potential energy of the dot is released, and it becomes a line. Neither will seeds
grow, however, nor will written notes erupt into sound, if filed away in a drawer or on the
shelf. To come to life they must be restored to the open air. I am reminded of the words of
one of the great contemporary exponents of experimental music, Cornelius Cardew: ‘a
musical score is a logical construct inserted into the mess of potential sounds that permeate
this planet and its atmosphere’.30

The fission/fusion reaction

What, then, is sound? Is it a mechanical vibration in the medium, issuing from a source and
destined to fall, among other constituents of the environment, on sensitive ears? Or is it a
sensation confined within the mind of the hearer, beyond the reach of this vibration? Is the
study of sound, its production and reception, a subject for physics or psychology? Or could it
be both? These are perplexing questions, epitomised in the well-known conundrum of
whether the tree falling in a storm makes a sound if there is no-one around to hear it. On
the physical account it does: ears do nothing for the existence of sound; all they do is
establish its relevance or meaning for the hearer. On the psychic account it does not: there
can be sound, in this account, only on the hither side of hearing. Were we to ask what light
is, we would face much the same dilemma. Is light an energetic impulse radiating from a
source of emission that may happen to stimulate the receptors of creatures equipped with
eyes? If that were so, then light would have no more need of eyes to exist than, in the
parallel case, sound has need of ears. So why should we give the name ‘optics’ to the physics
of light? And how can we account for the experience we have of inhabiting an illuminated
world, when incident radiation penetrates no further than the back of the retina? Should we
conclude, to the contrary, that light is not an energetic impulse at all but a purely mental
sensation? Perhaps I may be permitted a brief detour into the question of light, since it could
give some clues as to how to proceed with the question of sound. My argument, in a
nutshell, will be that light is neither physical nor psychic but atmospheric, and that so, too, is
sound.

Imagine what happens when we look up at the sky. What do we see? Skylight can hardly be
an object of perception. A balloon floating in the sky might conceivably be regarded as such
an object, but not the sky itself. To contemplate the blue of the sky, as phenomenologist
Maurice Merleau-Ponty remarks, is not to be set over against it as acosmic subject to cosmic
object, nor is it to grasp it cognitively by assimilating the raw material of sensory experience
to some abstract idea of blueness. The sky is not an object of the physical universe, nor is it a
concept in the mind of the observer. To see the sky is precisely to experience its luminosity
from within. ‘I am the sky itself’, continues Merleau-Ponty, ‘my consciousness is saturated

11
with this limitless blue’.31 To be sure, there could be no experience of skylight without the
diffusion of solar radiation by atmospheric air, and without the excitation of photoreceptors
in the retina. But the luminosity of the sky is reducible to neither. As the experience of
inhabiting an illuminated world, it is not so much a scattering of radiant energy as an
affectation of being. This experience, moreover, is entirely real. We can no more dismiss it as
an illusion than we can write off the history of painting as a phantasmagoria born of the
overstimulation of excessively susceptible minds, or deny the reality of blindness for the
visually impaired. Light is real for the sighted, precisely because it is none other than the
continual birth of visual awareness as it opens up to the cosmos. And in this opening, the
visual field – that is, the sky in its entirety – is merged with the field of attention. 32

I use the term ‘atmosphere’ to denote this blending of the cosmic and the affective. It is a
term that already has well-established meanings, on the one hand in the science of
meteorology, and on the other in the philosophy of aesthetics. These meanings are opposed
but complementary. Where meteorology gives us an aerial domain evacuated of all traces of
affect, aesthetics gives us a system of affects among subjects and objects that appear
otherwise to exist in a vacuum.33 In thinking of skylight as a phenomenon of atmosphere I
aim to bring the two meanings together, thus restoring an affective dimension to aerial life.
All life, after all, is lived under the sun, and to inhabit the atmosphere is to see with its light.
But might it be to hear as well? Like Merleau-Ponty, musicologist Victor Zuckerkandl also
imagines himself looking up at the sky. What he sees, he reports, is not a ‘thing out there’
but ‘boundless space, in which I lose myself’. But if Merleau-Ponty describes the experience
as one of pure luminosity, for Zuckerkandl it is one of pure sonority!34 Could we not then say
of sound – precisely as we have said of light – that it is the birth of awareness, now auditory
rather than visual, as it opens to the cosmos? No more than light is sound reducible to its
conditions, which in this case include mechanical vibrations in the medium, emitted from a
source, and the receptors of the ears and their associated neural connectivities. Like light,
sound is a phenomenon of atmosphere.

In order to elaborate on this idea, let me take the comparison with the phenomenology of
vision a little further. In his essay ‘Eye and Mind’, Merleau-Ponty describes vision, rather
cryptically, as ‘the means given me for being absent from myself’. 35 He was referring to the
uncanny capacity that vision confers on us to be at home in our bodies and to vault the
heavens at one and the same time. It seems that vision divides us from ourselves only for us
to discover, at the termination of this division, that we are back where we belong, and that
the luminosity of the sky is none other than the light in our own eyes. When, for example,
you open your eyes to the firmament, you do not find yourself looking out from holes your
head as through the windows of a house. On the contrary, it is as though the enclosing walls
had vanished, allowing you, like an agile spirit, to span the cosmos. Where your head was,
there’s the world! Your awareness has exploded, leaving you stranded and at large in the
open. What has detonated this explosion? For Merleau-Ponty it is none other than the spark
of vision – a spark that is ignited whenever sensing meets the sensible, or wherever our
12
attention is let loose upon the world.36 The fusion of the two poles of vision – the one
corporeal, the other celestial – blows us apart such that at one and the same time we
remain where we stand, emplaced where our bodies are, and roam heaven and earth as our
attention wanders the furthest reaches of the visual field. Light, for Merleau-Ponty, is the
outcome of this fission/fusion reaction. Like a spark, it does not connect a source of
emission with a recipient but bursts forth in the atmospheric in-between, in directions
orthogonal to the line of their connection.

Now if that is true for light, could the same argument work for sound? I think it could. There
are indeed corporeal and celestial poles of hearing which, when they collide, generate the
experience of sound. And that very sound, born of the fusion of the affective and the
cosmic, where what is heard turns out to be our own hearing, also divides us such that –
much as in a dream – we are simultaneously at home in our bodies and at large in the
cosmos.37 That this is so for sound as it is for light can be confirmed by means of a simple,
two-stage experiment. If you conduct the first stage, then I’ll conduct the second. For the
first, go outside and cast your eyes heavenwards. Then bring your index finger to your
forehead and tap it gently. Feel the hard, bony surface. Yes, you are definitely still there, and
have not melted into the ether! But on second thoughts you are not so sure, for you are
perplexed to find that in the visual field your finger strikes no surface but rather looms as a
ghostly, intruding presence that casts its shadow in the void. How, you wonder, can you be
here, in place and at home in your body, and at the same time inhabit an atmospheric world
that returns the body to you as a spectre? Now, for the second stage, let me repeat the
experiment with my cello. I bring my finger down on the fingerboard and feel the hard,
resistant surface. Yes: I am here, and here is my cello. Yet again, on second thoughts, the
finger is but a phantom presence that touches nothing but has inveigled itself into the midst
of the field of audition. How can the finger show up simultaneously in two such different
ways, at once corporeal, in the haptic space of performance, and as a phantom, in the
atmospheric space of explosion?38

Taking flight

This double-take accounts for the curious combination, in playing an instrument like the
cello, of sedentism and flight. For I can be seated on a chair, right here, and yet be possessed
of the means, as Merleau-Ponty would put it, to be ‘absent from myself’. Sitting with the
instrument between my knees and its endpin piercing the floor, I have become the
equivalent of a centaur, with human arms and head, a trunk of wood and strings, and an
endpin for a leg. Body and instrument are tightly conjoined into an anatomical unity. Yet in
the moment I begin to play, something else happens. The instrument itself seems to explode
into its constituent materials – of wood, varnish, metallic strings, bowhair, rosin and
resonant air. Nor is it only the instrument that explodes. I do too! I am no longer a body with
mouth, hands, arms and ears; rather my entire body, in its movements and sensibilities,
13
becomes mouth, hand, arm or ear. I am mouth-body-becoming (breathing), hand-body-
becoming (fingering), arm-body-becoming (bowing), ear-body-becoming (listening). I often
dream about my cello, and a persistent theme is that the instrument has literally fallen
apart, along with what I experience as the disintegration of my own corporeality. The cello is
in pieces and so am I. I used to be disturbed by these dreams. But I now realise that they re-
enact the very conditions of performance. For only by breaking apart the therianthropic
unity of body and cello can it be put together again, not organically or anatomically, but
quite differently, as a bundle of affects. Where body and cello had been joined up, as a
totality of parts, wood, varnish, metal, hair, rosin and air join with mouth, hands, arms and
ears in the generation of atmospheric sound.

It is in the correspondence of affects – in their feeling for one another – that sedentism gives
way to flight. Sound takes off, and I take leave of myself. The violinist and composer Malcolm
Goldstein vividly evokes this correspondence in a poem entitled ‘The Gesture of Sounding’:

Gesture of breath and contact

in motion, touch
of wind and finger upon
wood, hair, skin and metal,
gut, ivory and felt
bodies/objects transformed in their sounding,
as mouth releases, impressing,
the air within
outwards,
and fingers and wrist articulate
from root of spine (and deeper)
the totality of who
we are, that moment resonating
both inward impulse and outward
realization being
one.39

Not only does sound take flight in the correspondence of affects, however. So also does
thinking. It has become common, even conventional, to observe that pianists ‘think with
their fingers’, and violinists and cellists likewise – though not with just their fingers but as
Goldstein suggests, with wrists, lungs and trunk, indeed the whole body. This observation
lends support to the idea that thinking is not an exclusively inside-the-head operation,
confined only to the brain, but is facilitated by the ‘wideware’ of a mind that extends across
brain, body and instrument. One of the leading exponents of this principle of the extended
mind is the philosopher of cognition, Andy Clark.40 By way of analogy, Clark asks us to
consider the prodigious talents of a fish, the bluefin tuna. Why, Clark asks, can the tuna swim
so fast? The answer is that it couples its own bodily energies to the fluid dynamics of the

14
water through which it swims, setting up eddies and vortices through the swishing of its tail
and fins which themselves exert a propulsive momentum beyond any muscular force of
which the fish alone is capable. We might be forgiven for thinking of the tuna fish as a
swimming machine. However the real machine, Clark suggests, is not the tuna on its own. It
is ‘the fish in its proper context: the fish plus the surrounding structures and vortices that it
actively creates and then maximally exploits’. 41 Thus, strictly speaking, it is not the fish alone
that swims, but the fish-in-the-water.

Now Clark would have us compare the way the fish takes to the water to the way a
mathematician may take up pencil and notepad in order to perform a calculation, or to the
way a navigator takes up ruler and compass to plot a course. If the totality ‘fish-plus-eddies-
plus-vortices’ comprises a mechanism for swimming, so the totality ‘mathematician-plus-
pencil-plus-notepad’ or ‘navigator-plus-ruler-plus-compass’ comprises a mechanism for
computation. The cognitive machine, in the human case, is extended in just the way that the
swimming machine is for the fish. Except that it is not! Indeed we can draw the parallel
between the swimming of the fish and the thinking of the human to demonstrate, precisely
to the contrary, why thinking cannot be understood as the operation of a cognitive
mechanism, even if that mechanism be extended to articulate the brain with both the body
and its extra-somatic instruments. For swimming is no more a motor effect for the fish than
is thinking a computational effect for the human. Eddies and vortices cannot be connected
up like the wheels, cranks and pistons of an engine, in such a way as to deliver propulsion.
They are energetic movements in themselves, as indeed is the fish. To borrow an expression
from another philosopher, Stanley Cavell, the fish-in-the-water – like every other living being
in its proper medium – is a ‘whirl’.42 The whirl is not an object that moves but the emergent
form of a movement. Likewise the fish is not a body that swims but the gyre of swim-body-
becoming; not an articulation of organs, but a bundle of kinaesthetically attuned
movements. Or in a word, its coherence is not articulatory but harmonic.

Returning now to Goldstein’s poem, we can see that exactly the same applies to the violinist
(in his case) or to the cellist (in mine). I play like a fish; I fly as the fish swims, precisely
because flying – like swimming – is not the output of a mechanism but a correspondence of
affects. How can a player armed only with a cello make such an immense and variable
sound? Not because the player’s brain, body and instrument together make up a ‘playing
machine’! It is not as though I take up my cello and bow, as I might a notepad and pencil, or
ruler and compass, in order to achieve results that I could not accomplish unaided. As
Goldstein intimates, I am not chained anatomically to the instrument; rather my breath,
touch, manual gesture and spinal posture join in unison with wood, hair and metal in a
correspondence of sensory awareness and vibrant materials – the one stretching or
attentive, the other stretched or tensed – wherein consciousness, in the words of Deleuze
and his collaborator Félix Guattari, is ‘thought of the matter-flow’ and material ‘the correlate
of this consciousness’.43 In this correspondence, sound takes flight, even as I remain seated.
And so, of course, does thinking. Thought cannot fly; only thinking can. There is movement
15
in thinking because connections unravel, leaving loose ends in search of company to
correspond or join with. Correspondence, not articulation, is the guarantor that thinking can
carry on.

Explicit knowledge, as we have seen, calls for specification and articulation. Thought, it is
often said, should be ‘joined up’. But if all thought were thus finally connected, nothing
could move. It is a mistake, I think, to conflate thinking with conceptualisation, if by that is
meant the accommodation of experience to a pre-existing framework. Thinking, surely, lies
not in this but in the excess of experience over conceptualisation – an excess we commonly
associate with imagination. This is the realm of hopes and dreams in which overflowing
experience, edging into form, has yet to surrender to partition and categorisation. 44 Thinking
unsettles thought. It reaches out beyond what is already explicable towards that which is not
yet present or even conceivable, an improvisation that forsakes the security of the fragile
centre that we may have drawn around ourselves for an uncertain and unknown future. Far
from fixing us to a position or standpoint it drags us out of it. Thinking is in this sense a de-
positioning, a practice of exposure.45 It is tenuous, hesitant and fraught with risk. But only
when we take that risk can thinking fly. ‘One launches forth, hazards an improvisation’, write
Deleuze and Guattari. ‘But to improvise is to join with the World, or to meld with it. One
ventures from home on the thread of a tune’. Every line of flight, they say, has its loops,
knots, speeds, movements and gestures, but above all, its sonorities: ‘there is always
sonority in Ariadne’s thread’.46

Have you ever wondered why we should think that thinking is silent? This would never have
occurred to our medieval predecessors, who would describe the practice of meditation by
the same term, rumination, which was routinely used for cattle chewing the cud.47 In their
understanding, thinking goes in and out just as breathing does, ‘both inward impulse and
outward realization being one’ – to recall the closing words of Goldstein’s verse. Or as
Merleau-Ponty insists in the same vein, ‘there really is inspiration and expiration of being’. 48
He meant this quite literally. For when we breathe, it is not just the body that takes air in,
and lets it out, as though the mind could be left to float in the ether of the imagination. We
breathe with our entire being, indissolubly body and soul. Thinking is the breath of the soul,
and its sound is a murmur, an undercurrent on the verge of forming itself into articulable
words. But the modern science of cognition – in separating thinking from doing, intellection
from performance – has silenced thought by attributing it to the mind of an interior subject,
alone inside its head, at one with itself but closed off against the cosmos. And by the same
token, it has reduced performance to inherently thoughtless, physical or mechanical
execution. In this essay I have argued, to the contrary, that thinking-in-doing, while it opens
to the cosmos, simultaneously separates the thinking subject from itself. Like light and
sound, thinking is kindled by a fission/fusion reaction, born of the collision of the affective
and the cosmic. My thinking through the cello, in a word, is not cognitive but atmospheric.

16
Acknowledgement

The research and writing of this essay were assisted by the European Research Council
Advanced Grant, Knowing From the Inside: Anthropology, Art, Architecture and Design
(323677-KFI, 2013-18). I am very grateful to the Council for its support.

17
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University Press.

Cage, J. (2011), Silence: Lectures and Writings by John Cage ( 50th Anniversary Edition),
Middletown, CT: Wesleyan University Press.

Cardew, C. (1971) ‘Treatise Handboook’, in E. Prévost (ed.) Cornelius Cardew: A Reader,

Harlow, Essex: Copula, pp. 95-134.

Cavell, S. (1969) Must We Mean What We Say? A Book of Essays, Cambridge, UK: Cambridge
University Press.

Clark, A. (1998), ‘Where Brain, Body and World Collide’, Daedalus: Journal of the American
Academy of Arts and Sciences 127: 257-280.

Clark, A. (2001), Mindware: An Introduction to the Philosophy of Cognitive Science, Oxford:

Oxford University Press.

Collins, H. (2010), Tacit and Explicit Knowledge, Chicago, IL: University of Chicago Press.

Deleuze, G. (1994), Difference and Repetition, trans. P. Patton, New York: Columbia
University Press.

Deleuze, G. and F. Guattari (2004), A Thousand Plateaus: Capitalism and Schizophrenia,

trans. B. Massumi, London: Continuum.

Goehr, L. (1992), The Imaginary Museum of Musical Works: An Essay in the Philosophy of
Music, Oxford: Clarendon Press.

Goldstein, M. (1988), Sounding the Full Circle: Concerning Music Improvisation and Other
Related Matters.
<http://www.frogpeak.org/unbound/goldstein/goldstein_fullcircle.pdf?
lbisphpreq=1> [accessed 19 November 2016].

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Unpublished ms.

Halprin, L. (1969), The RSVP Cycles: Creative Processes in the Human Environment. New York:
George Braziller.

Home-Cook, G. (2015), Theatre and Aural Attention: Stretching Ourselves, New York:
Palgrave Macmillan.

Ilievski, P. H. (1993), ‘The Origin and Semantic Development of the Term Harmony’, Illinois
Classical Studies 18: 19-29.
18
Ingold, T. (2000), The Perception of the Environment: Essays on Livelihood, Dwelling and Skill,
London: Routledge.

Ingold, T. (2007), Lines: A Brief History, Abingdon: Routledge.

Ingold, T. (2011), Being Alive: Essays on Movement, Knowledge and Description, Abingdon:
Routledge.

Ingold, T. (2013), Making: Anthropology, Archaeology, Art and Architecture, Abingdon:

Routledge.

Ingold, T. (2015) The Life of Lines, Abingdon: Routledge.

Ingold, T. (2017), ‘On Human Correspondence’, Journal of the Royal Anthropological Institute
(N.S.) 23: 1-19.

Kandinsky, W. (1979), Point and Line to Plane, trans. from Punkt und Linie zu Fläche (1926) by
H. Dearstyne and H. Rebay, ed. H. Rebay. Mineola, NY: Dover Publications.

Manning, E. (2016), The Minor Gesture. Durham, NC: Duke University Press.

Masschelein, J. (2010), ‘The idea of critical e-ducational research – e-ducating the gaze and
inviting to go walking’, in I. Gur-Ze’ev (ed.) The Possibility/Impossibility of a New
Critical Language of Education, Rotterdam: Sense Publishers, pp. 275-91.

Merleau-Ponty, M. (1962), Phenomenology of Perception, trans. C. Smith, London: Routledge

& Kegan Paul.

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and Other Essays on Phenomenological Psychology, the Philosophy of Art, History
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Polanyi, M. (1958), Personal Knowledge: Towards a Post-critical Philosophy, London:

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Polanyi, M. (1966), The Tacit Dimension, London: Routledge & Kegan Paul.

Sheets-Johnstone, M. (2011), ‘The Imaginative Consciousness of Movement: Linear Quality,

Kinaesthesia, Language and Life’, in T. Ingold (ed.) Redrawing Anthropology:
Materials, Movements, Lines. Farnham: Ashgate, pp. 115-128.

Wittgenstein, L. (1922) Tractatus Logico-Philosophicus, London: Routledge & Kegan Paul.

Zuckerkandl, V. (1956), Sound and Symbol: Music and the External World, trans. W. R. Trask,
Princeton, NJ: Princeton University Press.

19
NOTES

20
1
John Cage, Silence: Lectures and Writings by John Cage, 50th Anniversary Edition (Middletown, CT: Wesleyan
University Press, 2011), p. 109.
2
On the illocutionary force of linguistic utterances, see John Langshaw Austin, How to Do Things With Words,
Second Edition (Cambridge, MA: Harvard University Press, 1975).
3
Cage, Silence, p. 10.
4
Ibid., p. 44.
5
Ibid., p. 14.
6
Ibid., p. 10.
7
On the meaning of attention, see George Home-Cook, Theatre and Aural Attention: Stretching Ourselves (New
York: Palgrave Macmillan, 2015), p. 2.
8
The inspiration for this analogy comes from the writings of violinist Malcolm Goldstein, to which I return in the
closing section of this essay.

I follow the line,

am molded by it, yielding, as I mold it
like a brook after rain pours through
dirt, rocks, trees and grass, finding
new subtle twists and turns as things move,
are moved in the flow.

Malcolm Goldstein, Sounding the Full Circle: Concerning Music Improvisation and Other Related Matters (1988),
p. 4. <http://www.frogpeak.org/unbound/goldstein/goldstein_fullcircle.pdf?lbisphpreq=1> [accessed 19
November 2016].
9
Tim Ingold, ‘On Human Correspondence’, Journal of the Royal Anthropological Institute (N.S.) 23 (2017), pp. 1-
19.
10
Cage, Silence, p. 23.
11
Ludwig Wittgenstein, Tractatus Logico-Philosophicus (London: Routledge & Kegan Paul, 1922), §6.54.
12
Michael Polanyi, The Tacit Dimension (London: Routledge & Kegan Paul, 1966).
13
Harry Collins, Tacit and Explicit Knowledge (Chicago, IL: University of Chicago Press, 2010), p. 4.
14
Michael Polanyi, Personal Knowledge: Towards a Post-critical Philosophy (London: Routledge & Kegan Paul,
1958), p. 88.
15
Lawrence Halprin, The RSVP Cycles: Creative Processes in the Human Environment (New York: George Braziller,
1969), p. 12.

On the late eighteenth century origins of the idea of the musical work as a complete composition, see Lydia
16

Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford: Clarendon Press,
1992), p. 203.
17
On kinaesthesia, see Maxine Sheets-Johnstone, ‘The Imaginative Consciousness of Movement: Linear Quality,
Kinaesthesia, Language and Life’, in Tim Ingold (ed.) Redrawing Anthropology: Materials, Movements, Lines
(Farnham: Ashgate, 2011), pp. 115-128.
18
As I have argued elsewhere, ‘to play is itself to feel, so that in playing, I put feeling into the music’. Tim Ingold,
The Perception of the Environment: Essays on Livelihood, Dwelling and Skill (London: Routledge, 2000), p. 413.
19
I am indebted to the artist Jaime Refoyo for instructing me on how to draw a straight line freehand. After
returning to my cello, I was struck by the parallel with bowing technique. See Jaume Guilera and Jaime Refoyo,
GEOCOCO: Geography of Corporal Consciousness (unpublished ms).

On the etymology of ‘harmony’, see Petar Hr. Ilievski, ‘The Origin and Semantic Development of the Term
20

Harmony’, Illinois Classical Studies 18 (1993), pp. 19-29.

21
Tim Ingold, The Life of Lines (Abingdon: Routledge, 2015), pp. 23-5.
22
See Tim Ingold, Being Alive: Essays on Movement, Knowledge and Description (Abingdon: Routledge, 2011), p.
211.
23
Erin Manning, The Minor Gesture (Durham, NC: Duke University Press, 2016), pp. 117-18.

On this analogy, see Tim Ingold, Making: Anthropology, Archaeology, Art and Architecture (Abingdon:
24

Routledge, 2013), p. 111.

25
Gilles Deleuze, Difference and Repetition, trans. Paul Patton (New York: Columbia University Press, 1994), p.
29.
26
Ibid., p. 28.
27
Ingold, The Life of Lines, p. 111.

Wassily Kandinsky, Point and Line to Plane, trans. Howard Dearstyne and Hilla Rebay, ed. Hilla Rebay, from
28

Punkt und Linie zu Fläche (1926), first published in 1947 by the Solomon R. Guggenheim Foundation for the
Museum of Non-Objective Painting, New York City (Mineola, NY: Dover Publications, 1979), pp. 43-5.
29
Ibid., pp. 25-28.

Cornelius Cardew, ‘Treatise Handboook’, in Eddie Prévost (ed.) Cornelius Cardew: A Reader (Harlow, Essex:
30

Copula, 1971), pp. 95-134, see p. 108.

31
Maurice Merleau-Ponty, Phenomenology of Perception, trans. C. Smith (London: Routledge & Kegan Paul,
1962), p. 214.
32
Ingold, The Life of Lines, p. 96-7.
33
Ibid., pp. 73-8.
34
Victor Zuckerkandl, Sound and Symbol: Music and the External World, trans. Willard R. Trask (Princeton, NJ:
Princeton University Press, 1956), p. 344. I have compared the arguments of Merleau-Ponty and Zuckerkandl at
greater length elsewhere (Ingold, The Perception of the Environment, pp. 266-9).
35
Maurice Merleau-Ponty, ‘Eye and Mind’, trans. Carleton Dallery, in The Primacy of Perception, and Other
Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics (Evanston, IL: Northwestern
University Press, 1964), pp. 159-90. See pp. 186-7; also Ingold, The Perception of the Environment, pp. 263-4.
36
Merleau-Ponty, ‘Eye and Mind’, pp. 163-4.
37
Ingold, The Life of Lines, pp. 107-8.
38
Ibid., pp. 99, 109.
39
Goldstein, Sounding the Full Circle, p. 49.
40
Andy Clark, Mindware: An Introduction to the Philosophy of Cognitive Science (Oxford: Oxford University
Press, 2001).
41
Andy Clark, ‘Where Brain, Body and World Collide’, Daedalus: Journal of the American Academy of Arts and
Sciences 127 (1998), pp. 257-280. For the tuna fish analogy, see p. 272. The emphases are original.
42
Cavell speaks of ‘the whirl of organism’. See Stanley Cavell, Must We Mean What We Say? A Book of Essays
(Cambridge, UK: Cambridge University Press, 1969), p. 52.
43
Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi
(London: Continuum, 2004), p. 454.
44
I borrow the phrase ‘edging into form’ from Erin Manning, by which she foregrounds ‘the heterogeneity of a
welling experience before it succumbs to the categorization of its parts’. See Manning, The Minor Gesture, p.
112.
45
The literal meaning of ‘exposure’ is being ‘out of position’. On this, see Jan Masschelein, ‘The idea of critical e-
ducational research – e-ducating the gaze and inviting to go walking’, in Ilan Gur-Ze’ev (ed.) The
Possibility/Impossibility of a New Critical Language of Education (Rotterdam: Sense Publishers, 2010), pp. 275-
291. See p. 278.
46
Deleuze and Guattari, A Thousand Plateaus, pp. 343-4.
47
Tim Ingold, Lines: A Brief History (Abingdon: Routledge, 2007), p. 17.
48
Merleau-Ponty, ‘Eye and Mind’, p. 167.