Commenting on his famous work Le Penseur, or The Thinker, a century ago, the French sculptor Auguste Rodin described his subject in terms of its utter (masculine) physicality. “What makes my Thinker think is that he thinks not only with his brain, with his knitted brow, his distended nostrils and compressed lips, but with every muscle of his arms, back, and legs, with his clenched fist and gripping toes.”¹ Rodin’s corporeal Thinker embodies the tension between thought and action, spirit and body. It reminds us that thought and knowledge are crafted not only in one’s mind but though ones actions and experiences. Moreover, one’s physical existence impacts how one interacts with the world, how this knowledge is formed, and how it becomes manifest, that is, how one displays and conveys it.

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