“…Through the experience of one’s own movements and the movements of the bodies of others in specific situations, actors are able to intuitively understand individual intentions, social conventions, or the means to accomplishing certain purposes (Tomasello, 2000; Tomasello, Carpenter, Call, Behne, & Moll, 2005). This form of “embodiment,” upon which we build our argument, involves the multi-modal experiences of praxis via actors’ visual, haptic, auditory, motor, and vestibular systems (Barsalou, 2008; Clark, 1997; Lakoff & Johnson, 1999) and the ability of actors to grasp the meaning behind these bodily states (Carpenter, Uebel, & Tomasello, 2013; Sieweke, 2014; Tomasello, 2000). Bodily states are directly perceived to be meaningful (Bourdieu, 1977) because the same brain areas responsible for the comprehension and representation of practical dispositions are also responsible for the enactment of praxis (Gallese, 2006; Rizzolatti & Craighero, 2004).…”