What a Body Can Do Summary by Ben Spatz

Name: What a Body Can Do
ISBN: 9781317524717

Core Idea

Ben Spatz's "What a Body Can Do" argues that technique is a basic form of embodied knowledge. It offers a unique way of inquiry, different from theoretical knowledge. The book suggests that bodies, through repeated action, develop specific skills and understandings. These are not just mental states but are enacted within practice. This embodied knowledge is valuable, working as an ongoing research process that challenges old mind-body ideas and broadens our understanding of how we think, learn, and what we can do. The book claims that training in any technique—from martial arts to artistic performance to everyday skills—is a key way to create and share this embodied knowledge. It argues for seeing technique as a valid form of research, urging schools and society to include and value embodied practices for their unique contributions to knowledge and understanding the human condition, beyond just intellectual ideas.

Difficulty: Hard
Read it if: You are a scholar or practitioner interested in performance studies, embodied cognition, critical pedagogy, sociology of knowledge, or anyone seeking a deep philosophical and practical exploration of what bodies know and how they know it. Ideal for those who want to bridge theory and practice in understanding human action.
Skip it if: You are looking for a light, introductory read on physical fitness or a purely practical guide to specific techniques without engaging with dense philosophical and theoretical arguments about the nature of knowledge and embodiment.

Key Takeaways from What a Body Can Do

Technique as Embodied Knowledge

Beyond mere skill, technique is a sophisticated form of knowing and understanding the world through the body.

Spatz changes how we see technique, making it more than a physical skill to a form of embodied knowledge. This is not just about doing something well; it is a deep understanding that lives in the body, shaped by practice. It is a type of intelligence shown through movement, posture, and interaction, often without conscious thought. This view challenges academic systems that favor written or abstract knowledge, arguing for the intellectual work in physical mastery. It suggests bodies 'know' in ways words cannot fully explain, and this knowledge is key for navigating complex situations and doing difficult tasks, from a surgeon's precision to a dancer's expression.

“Technique is a major area of historical and ongoing research in physical culture, performing arts, and everyday life.”

In the book: Spatz's synthesis of phenomenology and enactive cognition, which emphasizes how cognition arises from the interaction between an organism and its environment, highlights the active, knowing role of the body.

Try this: When learning a new physical skill, focus not just on the external form but on the internal sensations and adjustments your body makes. Reflect on what your body 'learns' beyond explicit instructions, allowing for the development of intuitive, embodied expertise.

Related ideas: embodied-cognition, non-propositional-knowledge

Training as Research

Rigorous physical training is not just preparation for performance, but a form of inquiry that generates new knowledge.

Spatz states that disciplined training, especially in arts or martial arts, is a form of research. This redefines the 'practice as research' idea, moving past just documenting artistic steps to arguing that rigorous physical training is an investigative process. Through repeated action and refinement, practitioners explore the body's limits, finding new movements and understanding how things relate physically. This is not just about learning a skill but about pushing human ability through direct bodily experience, creating insights that are embodied and often hard to put into words.

“Viewing technique as both training and research has much to offer current debates over the role of practice in the university, including the debates around 'practice as research.'”

In the book: The author draws on dance studies and physical culture, where practitioners constantly experiment with movement, form, and expression, implicitly conducting research into the body's capabilities.

Try this: Approach your physical practice (e.g., yoga, a sport, a craft) with a researcher's mindset. Document your process, observe subtle changes in your body and technique, and reflect on what new insights or understandings emerge from your dedicated practice.

Related ideas: practice-as-research, kinesthetic-intelligence

Technique's Epistemic Value

Technique offers unique ways of knowing the world that are inaccessible through purely intellectual or verbal means.

Spatz argues that technique offers a unique path to knowledge that other types of inquiry cannot fully match. This knowledge is often unspoken, intuitive, and deeply linked to sensory and motor experience. Consider a master carpenter who 'feels' the wood's grain, or a musician who understands an instrument's nuances from years of touch and sound. These are not just skills; they are deep understandings of materials, forces, and interactions gained through direct bodily engagement. This view challenges how manual or performance expertise has been overlooked in academia, arguing for its recognition as a sophisticated way of knowing that adds to our understanding of reality.

“Technique is a major area of historical and ongoing research in physical culture, performing arts, and everyday life.”

In the book: The text implicitly refers to the 'knowledge' held by master artisans, performers, or athletes who can execute complex tasks with an intuitive understanding that defies simple verbal explanation.

Try this: When encountering a new object or environment, engage with it physically. Touch it, manipulate it, move within it. Pay attention to the non-verbal information your body gathers, recognizing its validity as a form of understanding.

Related ideas: tacit-knowledge, epistemology-of-practice

Beyond Mind-Body Dualism

Spatz dismantles the artificial separation between mind and body, presenting the body as an intelligent, knowing entity.

A main part of Spatz's work is its rejection of the idea that mind and body are separate. He argues they are closely linked, with the body itself being a source of intelligence and knowledge. This means thinking is not just in the brain but spread throughout the organism, showing up in our movements, feelings, and interactions. By using ideas from phenomenology and enactive cognition, Spatz offers a more complete view of human experience, where the body is not just a container for the mind but actively shapes our understanding and engagement with reality. This changes how we educate, train, and value different human intelligences.

“Drawing on critical perspectives from the sociology of knowledge, phenomenology, dance studies, enactive cognition, and other areas, Spatz argues that technique is a major area of historical and ongoing research.”

In the book: The book's reliance on enactive cognition, which posits that cognition arises from the dynamic interaction between an organism and its environment, directly challenges the idea of a disembodied mind.

Try this: Practice mindfulness and interoception to become more aware of your body's signals and sensations. Recognize that your gut feelings, physical responses, and muscle memory are forms of intelligence, not just reactions.

Related ideas: mind-body-unity, phenomenology

Technique in Everyday Life

Sophisticated embodied techniques are not limited to experts but are fundamental to navigating daily existence.

Spatz expands 'technique' beyond specialized areas like dance or sports, stating its wide presence and importance in everyday life. From walking and tying shoes to driving a car or using a phone, our daily actions rely on complex, often unconscious, embodied techniques. These are not minor skills but refined motor programs developed through years of interacting with our environment. Recognizing this raises the importance of ordinary bodily actions, showing them as sophisticated forms of practical intelligence. This view helps us appreciate the detailed bodily knowledge that lets us function smoothly, often taken for granted until an injury disrupts it.

“Technique is a major area of historical and ongoing research in physical culture, performing arts, and everyday life.”

In the book: The author explicitly states that technique is present in 'everyday life,' implying commonplace actions that require embodied coordination and skill.

Try this: Observe the subtle techniques you employ in your daily routines: how you balance while carrying groceries, navigate a crowded street, or type on a keyboard. Appreciate the complexity and efficiency of these often-unconscious embodied skills.

Related ideas: practical-intelligence, habitual-action

The University and Embodied Practice

Academic institutions must reconsider their valuation of practice, recognizing its intellectual rigor and knowledge-generating capacity.

Spatz's work directly addresses the debate in universities about the role of practice-based research. He critiques the academic preference for theoretical, written knowledge, arguing that this overlooks the intellectual contributions of embodied practices. By defining technique as knowledge and training as research, he offers a strong framework for including performing arts, physical culture, and other practice-led fields more fully in academia. This calls for rethinking how 'research' is defined, advocating for methods that can capture the unique insights from physical engagement, rather than forcing them into language-only systems that miss their core.

“Viewing technique as both training and research has much to offer current debates over the role of practice in the university, including the debates around 'practice as research.'”

In the book: The book directly addresses 'current debates over the role of practice in the university,' indicating its relevance to academic discourse and policy.

Try this: If you are involved in a practice-based discipline within academia, advocate for methodologies that honor the embodied nature of your work. Seek ways to articulate the unique knowledge generated through your practice, even if it challenges traditional academic norms.

Related ideas: practice-led-research, academic-legitimacy

Sociology of Embodied Knowledge

Techniques are socially and culturally constructed, reflecting collective histories and power dynamics.

Spatz bases his theory in a critical look at how knowledge is made, recognizing that embodied techniques are not neutral. They are tied to social and cultural settings, shaped by history, power, and community practices. How we move, interact, and perform tasks is influenced by our upbringing, culture, and the groups we belong to. This means techniques can carry social meanings, reinforce power structures, or even be a way to resist. Understanding this social side is key for a full theory of embodied knowledge, preventing a view of the body as purely individual and instead showing how our physical abilities are linked to our social world.

“Drawing on critical perspectives from the sociology of knowledge... Spatz argues that technique is a major area of historical and ongoing research.”

In the book: The explicit mention of 'critical perspectives from the sociology of knowledge' indicates this foundational aspect of his theory.

Try this: When observing different physical techniques (e.g., different cultural dances, martial arts styles, or even social greetings), consider how they reflect historical, social, and cultural values and power dynamics, rather than just individual preferences.

Related ideas: cultural-techniques, social-construction-of-body

Technique as Ongoing Research

Embodied techniques are not static, but constantly evolving through iterative practice and adaptation.

Spatz stresses that technique is not a fixed goal but 'ongoing research.' This means that even after achieving mastery, practitioners keep refining and adapting. The body, through continuous practice, constantly experiments, finding new efficiencies or solutions to movement problems. This dynamic view challenges the idea of technique as just repetition, instead showing it as a living, evolving process of inquiry. It highlights the creativity and adaptability of embodied intelligence, where each movement can be a small experiment, leading to adjustments and deeper understanding, ensuring technique stays relevant and responsive.

“Technique is a major area of historical and ongoing research in physical culture, performing arts, and everyday life.”

In the book: The phrase 'ongoing research' directly supports this point, implying a continuous process of discovery rather than a static state.

Try this: In your own physical pursuits, resist the urge to see 'mastery' as an end. Instead, view it as a platform for continuous exploration and refinement. Seek out new variations, challenges, and perspectives to keep your embodied learning dynamic and evolving.

Related ideas: iterative-practice, adaptive-learning

Enactive Cognition and Embodiment

Our cognitive processes are not separate from our bodies, but emerge from our active engagement with the world.

A main part of Spatz's theory is enactive cognition, which says that thinking does not happen 'in' the brain, but 'comes from' the interaction between a person and their environment. This means our perception and knowledge are actively created through our bodily engagement with the world. We do not just passively receive information; we actively 'enact' our reality through our movements, senses, and actions. This view provides a strong scientific basis for seeing technique as knowledge, as it directly connects physical action to thinking, validating the intellectual rigor of embodied practice and breaking down old ideas of thought without a body.

“Drawing on critical perspectives from... enactive cognition... Spatz argues that technique is a major area of historical and ongoing research.”

In the book: Spatz explicitly lists 'enactive cognition' as a critical perspective he draws upon, indicating its central role in his argument.

Try this: When trying to understand a complex system or concept, don't just read about it. Try to interact with it physically, build a model, or simulate its actions. Recognize that your physical engagement will deepen your cognitive understanding.

Related ideas: situated-cognition, ecological-psychology

Technique as World-Making

Through embodied techniques, we actively shape and make sense of our world, rather than just passively perceiving it.

Spatz's theory suggests that embodied techniques are not just about doing things in an existing world, but are key to how we understand and create that world. Our bodies, through skilled actions, actively 'make the world.' A dancer does not just move in space; they create a new spatial reality through their choreography. A craftsman does not just work with materials; they bring new forms into being. This view moves past passively receiving reality, highlighting the active, creative role of the embodied person. It emphasizes how our physical abilities affect our experience and our capacity to shape our environments, showing the agency in our bodily existence.

“What a Body Can Do, Ben Spatz develops, for the first time, a rigorous theory of embodied technique as knowledge.”

In the book: The overall argument that technique is a form of knowledge and research, combined with the influence of phenomenology and enactive cognition, supports the idea that our bodies actively construct our experience of the world.

Try this: Consider how your actions and skills literally shape your environment and your understanding of it. Whether you're arranging furniture, cooking a meal, or creating art, recognize that you are actively creating and interpreting your world through your body's engagement.

Related ideas: enactment-theory, body-as-agent

What a Body Can Do Quotes

“The body is not a thing but a capacity, a dynamic potentiality for action and interaction.”

Introducing the core thesis of the book regarding the nature of the body.

“Technique is not just what we do, but how we learn to do it, and how that learning shapes what we become.”

Discussing the transformative power of technique beyond mere execution.

“To study embodied technique is to study power relations inscribed in and through the body.”

Highlighting the socio-political dimensions inherent in the study of bodily techniques.

“Every body is a living archive, holding histories of movement, habit, and interaction.”

Emphasizing the historical and cumulative nature of bodily experience.

“The distinction between 'mind' and 'body' often obscures the complex, integrated reality of human experience.”

Critiquing Cartesian dualism and advocating for a more holistic understanding.

“Performance is not merely an outcome but a process of becoming, a continuous negotiation with the present moment.”

Defining performance as an ongoing, dynamic process rather than a static product.

“We learn not just with our brains, but with our muscles, our bones, our very breath.”

Illustrating the deep embodied nature of learning.

“Skill is not an abstract possession, but an ongoing achievement, always in relation to a specific context.”

Challenging the idea of skill as a fixed attribute, framing it as relational and contextual.

“To truly understand a movement, one must not only observe it but also attempt to embody it.”

Advocating for an empathetic and embodied approach to understanding movement.

“The practice of technique is a form of inquiry, a way of asking questions with and through the body.”

Describing technique as an active, investigative process.

“Our bodies are always already in conversation with their environment, shaping and being shaped in turn.”

Emphasizing the constant interplay between the body and its surroundings.

“Freedom is not the absence of constraint, but the capacity to act effectively within given constraints.”

Offering a nuanced definition of freedom in an embodied context.

“The work of embodiment is never finished; it is a continuous, unfolding process.”

Reinforcing the dynamic and ongoing nature of embodied existence.

“To neglect the body is to neglect a fundamental dimension of human knowledge and being.”

Arguing for the essential role of the body in epistemology and ontology.

“What a body can do is always more than we initially imagine, if we only pay close enough attention.”

Encouraging a deeper exploration and appreciation of bodily capabilities.

Quiz

10 questions on the main ideas. Each answer comes with a short explanation.

Question 1
According to Ben Spatz in 'What a Body Can Do', how does he primarily define 'technique'?
1. As a purely intellectual exercise unrelated to physical action.
2. As embodied knowledge developed through both training and research.
3. As a set of innate abilities that cannot be learned or refined.
4. As the exclusive domain of professional athletes and dancers.
Show answer
B. As embodied knowledge developed through both training and research. Spatz's central argument is that technique constitutes a rigorous theory of embodied technique as knowledge, viewing it as both training and research.
Question 2
What significant debate within the university does Spatz's work aim to contribute to?
1. The funding models for humanities departments.
2. The role of online learning versus traditional classroom instruction.
3. The role of practice in the university, specifically 'practice as research'.
4. The ethics of artificial intelligence in academic research.
Show answer
C. The role of practice in the university, specifically 'practice as research'. The book explicitly states that viewing technique as both training and research 'has much to offer current debates over the role of practice in the university, including the debates around 'practice as research.''
Question 3
Which of the following fields does Ben Spatz draw upon to develop his arguments about embodied technique?
1. Astrophysics, classical economics, and medieval history.
2. Critical legal studies, quantum mechanics, and urban planning.
3. Sociology of knowledge, phenomenology, dance studies, and enactive cognition.
4. Behavioral psychology, supply-chain management, and art history.
Show answer
C. Sociology of knowledge, phenomenology, dance studies, and enactive cognition. The book description explicitly lists 'critical perspectives from the sociology of knowledge, phenomenology, dance studies, enactive cognition, and other areas' as influences.
Question 4
Spatz argues that technique is a major area of historical and ongoing research in which three primary domains?
1. Theoretical physics, abstract mathematics, and digital forensics.
2. Physical culture, performing arts, and everyday life.
3. Corporate finance, political science, and literary criticism.
4. Culinary arts, automotive engineering, and software development.
Show answer
B. Physical culture, performing arts, and everyday life. Spatz specifically states that technique 'is a major area of historical and ongoing research in physical culture, performing arts, and everyday life.'
Question 5
How does Spatz's perspective challenge traditional academic views that might separate 'mind' and 'body'?
1. By asserting that only intellectual pursuits qualify as true knowledge.
2. By proposing that physical actions are entirely separate from cognitive processes.
3. By arguing that technique is 'embodied knowledge', bridging the gap between physical practice and intellectual understanding.
4. By suggesting that the body is merely a vessel for the mind's functions.
Show answer
C. By arguing that technique is 'embodied knowledge', bridging the gap between physical practice and intellectual understanding. The core of Spatz's theory is 'embodied technique as knowledge,' which inherently integrates physical action and cognitive understanding, challenging dualistic views.
Question 6
When Spatz refers to 'physical culture', what kind of practices might he be encompassing?
1. Only competitive sports with strict rules and professional athletes.
2. Any systematic engagement with the body for health, development, or performance, including martial arts, yoga, or fitness.
3. Exclusively the study of ancient Greek and Roman athletic traditions.
4. The scientific study of human anatomy without practical application.
Show answer
B. Any systematic engagement with the body for health, development, or performance, including martial arts, yoga, or fitness. 'Physical culture' is a broad term that refers to practices focused on bodily development, training, and performance, which aligns with Spatz's focus on technique as research in this domain.
Question 7
How does Spatz's theory of technique as 'research' differ from merely 'practice' in a university context?
1. Practice is about doing, while research implies a systematic inquiry, generation of new knowledge, and critical reflection on the process and outcomes of that doing.
2. Research is only theoretical, whereas practice is always physical.
3. There is no significant difference; the terms are interchangeable for Spatz.
4. Practice is always individual, while research must be collaborative.
Show answer
A. Practice is about doing, while research implies a systematic inquiry, generation of new knowledge, and critical reflection on the process and outcomes of that doing. Spatz's argument that 'technique as both training and research' suggests that the 'research' aspect involves a deliberate, systematic investigation and knowledge generation through the practice itself, beyond mere execution.
Question 8
What is the key implication of Spatz's argument that technique is a form of 'knowledge' for how universities might value practical disciplines?
1. It suggests that practical disciplines should be entirely separated from academic departments.
2. It implies that practical skills are merely vocational and do not contribute to academic knowledge.
3. It provides a theoretical framework to legitimize practical disciplines as rigorous scholarly pursuits, generating unique forms of knowledge.
4. It advocates for reducing funding for practical arts programs in favor of traditional sciences.
Show answer
C. It provides a theoretical framework to legitimize practical disciplines as rigorous scholarly pursuits, generating unique forms of knowledge. By theorizing embodied technique as knowledge, Spatz offers a robust argument for the intellectual and academic value of practical disciplines, elevating them beyond mere skill acquisition to a form of research and knowledge generation.
Question 9
How might Spatz's concept of 'enactive cognition' influence his view of technique?
1. It suggests that cognition is purely an internal brain process, separate from bodily action.
2. It reinforces the idea that the mind dictates the body, but the body has no influence on the mind.
3. It supports the view that cognitive processes are deeply intertwined with, and emerge from, an organism's interaction with its environment through its body, thus linking technique directly to knowing.
4. It focuses solely on the genetic predispositions for certain physical abilities.
Show answer
C. It supports the view that cognitive processes are deeply intertwined with, and emerge from, an organism's interaction with its environment through its body, thus linking technique directly to knowing. Enactive cognition posits that cognition arises from the dynamic interaction between an organism and its environment, emphasizing the role of the body and action in shaping thought and perception. This aligns perfectly with Spatz's idea of embodied technique as knowledge.
Question 10
If 'technique' is considered research in 'everyday life', what might be an example of this concept?
1. The passive consumption of media without critical engagement.
2. A chef systematically refining a new recipe through repeated trials and adjustments, documenting the process and outcomes.
3. Random, unreflective movements performed without specific intent.
4. Memorizing historical facts without applying them.
Show answer
B. A chef systematically refining a new recipe through repeated trials and adjustments, documenting the process and outcomes. The chef's process involves systematic refinement and documentation, demonstrating a research-like approach to developing and understanding a technique (cooking) within an everyday context, making it a form of 'embodied knowledge'.

What a Body Can Do FAQ

What is embodied technique according to Ben Spatz?

In 'What a Body Can Do,' Ben Spatz defines embodied technique as a form of knowledge that integrates both training and research. It's not just about physical skill, but a rigorous way of knowing that develops through the body in various practices.

Does 'practice as research' work in an academic setting?

Spatz argues that viewing technique as both training and research offers significant contributions to the 'practice as research' debate within universities. He suggests that embodied technique provides a rigorous framework for understanding and validating practice as a legitimate form of academic inquiry.

How does Spatz's view of technique differ from traditional academic research?

Spatz differentiates his view by emphasizing technique as an active, ongoing area of research inherent in physical culture and performing arts, rather than solely a subject of study. He argues it's a form of knowledge generation, not just application, drawing on critical perspectives often overlooked in traditional research models.

What disciplines does 'What a Body Can Do' draw upon?

The book draws on a rich interdisciplinary foundation, including the sociology of knowledge, phenomenology, dance studies, and enactive cognition. This broad approach allows Spatz to construct a comprehensive theory of embodied technique.

Is 'What a Body Can Do' relevant to everyday life, or just performing arts?

Spatz explicitly states that technique is a major area of historical and ongoing research not just in physical culture and performing arts, but also in everyday life. The book's insights can be applied to understanding the embodied knowledge we develop through daily actions and interactions.

What is the primary argument of 'What a Body Can Do'?

The primary argument is that embodied technique should be recognized as a rigorous form of knowledge, combining both training and research. Spatz posits that this perspective is crucial for understanding the role of practice within academic institutions and beyond.

How does enactive cognition relate to embodied technique?

Enactive cognition, which emphasizes the body's active role in shaping perception and understanding, is a key theoretical lens for Spatz. It supports his argument that technique is not merely mechanical but a dynamic, interactive process of knowing and engaging with the world.

Who would benefit most from reading 'What a Body Can Do'?

This book is highly beneficial for scholars, practitioners, and students in fields such as performing arts, dance studies, sociology, philosophy, and education, particularly those interested in the intersections of theory and practice, and the role of the body in knowledge production.

About the author

Ben Spatz

Ben Spatz is a writer and performance maker whose work explores the intersection of embodiment, politics, and history. His notable book, 'What a Body Can Do: Tools for Critical Embodiment,' offers practical and theoretical approaches to understanding the body's role in social and political life. Spatz is recognized for his interdisciplinary research and his commitment to accessible, practice-based scholarship.

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