ABSTRACT
What is the relation between the felt and aesthetic dimensions of embodied thinking? In this chapter I describe my own journey of pondering this question in relation to my practising and teaching of Gendlin’s methods of Focusing and Thinking at the Edge (TAE). My aim is to show the transformative potential of making the implicit and silent process of embodied thinking explicit and heard, and how it could affect the way we approach education and research practices in philosophy and art, as well as other disciplines.
