Drawing on a pluralist approach to mindreading, I explore Direct Social Perception with respect to perceiving the emotional states of people that we are close to, such as spouses, friends, and family. I argue that in general, emotions are embodied and can be perceived directly. I further claim that perceptual content includes concepts. That is, I argue against a non-conceptual view of emotion recognition, claiming instead that we learn emotional concepts by attending to certain expressive patterns of emotions. This view (...) implicates that we can directly perceive both basic and non-basic emotions of people we are close to. (shrink)

Film and television portrayals of posthuman cyborgs melding biology and technology, simultaneously “animal and machine” abound. Most of us immediately think of iconic characters like Arnold Schwarzenegger’s relentless cyborg assassin in the Terminator series or Peter Weller’s crime-fighting cyborg police officer in Robocop (1987). Or perhaps we recall the many cyborgs populating the Dr. Who, Star Trek, and Star Wars television series and films—including Darth Vader, surely the most famous cinematic cyborg of all time. But lesser-known explorations of cybernetic embodiment (...) have appeared in film and television for many decades. And not all portrayals involve the sort of extreme transformations exemplified by these iconic characters. This chapter considers some of different ways that film and television have explored the transformative relation between embodiment and technology. (shrink)

In addiction, apparently causally significant phenomena occur at a huge number of levels; addiction is affected by biomedical, neurological, pharmacological, clinical, social, and politico-legal factors, among many others. In such a complex, multifaceted field of inquiry, it seems very unlikely that all the many layers of explanation will prove amenable to any simple or straightforward, reductive analysis; if we are to unify the many different sciences of addiction while respecting their causal autonomy, then, what we are likely to need is (...) an integrative framework. In this paper, we propose the theory of “Externalist” or “4E” – for extended, embodied, embedded, and enactive – cognition, which focuses on the empirical and conceptual centrality of the wider extra-neural environment to cognitive and mental processes, as a candidate for such a framework. We begin in Section 2 by outlining how such a perspective might apply to psychiatry more generally, before turning to some of the ways it can illuminate addiction in particular: Section 3 points to a way of dissolving the classic dichotomy between the “choice model” and “disease model” in the addiction literature; Section 4 shows how 4E concepts can clarify the interplay between the addict’s brain and her environment; and Section 5 considers how these insights help to explain the success of some recovery strategies, and may help to inform the development of new ones. (shrink)

Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they were all damaged (...) in the blackout”). Memory, and lack of it, permeates place, where from the post-blackout Las Vegas Deckard remembers it as somewhere you could “forget your troubles.” Memory is a commodity, called upon and consumed by the Wallace Corporation, purchased from the memory-maker, Dr Ana Stelline, who constructs and implants “the best memories” in replicants so as to instil in them real human responses. Memory is ubiquitous in Blade Runner 2049, involving humans, replicants, objects, and machines. Even “God,” we are told, “remembered Rachael.” Nowhere, though, is the depiction of memory more important than in the attempt to solve a question of identity. Officer K has a memory of his past. Even though he knows it is an implant, it is a memory he is emotionally attached to, frequently narrating it to Joi, his digital girlfriend. But it is a memory that starts to puzzle and trouble him. When K discovers the remains of a dead replicant, a female NEXUS-7, he uncovers a secret—this replicant was pregnant and died during childbirth, a discovery that could “break the world.” K is charged with hunting down the child and making the problem disappear. Yet as K starts seeking answers to the question of the child’s identity he gets inextricably caught up in the mystery. Is he merely Officer K, or is he Joe, the miracle child of Rachael and Deckard? The answer to this question hinges on K’s memory. But is the memory genuine? Is the memory his? Blade Runner 2049 encourages us to think deeply about the nature of memory, identity, and the relation between them. Indeed, the film does not just serve as a starting point for thinking about philosophical issues related to memory and identity. Rather, as we show in this chapter, the film seems to offer a view on these philosophical issues. Blade Runner 2049 offers us a view of memory as spread out over people, objects, and the environment, and it shows us that memory’s role in questions of identity goes beyond merely accurately recalling one’s past. Identity depends not on memory per se, but partly on what we use memory for. (shrink)

Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts of musicing, thought (...) of as processes of environmental space manipulation, are thus examples of what I term Òemotional niche construction.Ó I explore three dimensions of this process and appeal to different strands of empirical work to support this picture. (shrink)

For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional (...) consciousness. In developing this idea, I consider the ‘material’ and ‘worldmaking’ character music, and I apply these considerations to two case studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

In this paper we suggest an understanding of the self within the conceptual framework of situated affectivity, proposing the notion of an affectively extended self and arguing that the construction, diachronic re-shaping and maintenance of the self is mediated first by affective interactions. We initially consider the different variations on the conception of the extended self that have been already proposed in the literature. We then propose our alternative, contextualising it within the current debate on situated affectivity. While the idea (...) that we exploit the external environment in order to manage our affective life is now rather widespread among philosophers, its potential consequences for and connections with the debate on the self remain underexplored. Drawing on James’ intuition of the “material self”, which clearly connects the self and the emotions in agency, and broadly envisioning an extension of the self beyond its organismic boundaries, we propose our pragmatist conception of the self: an affectively extended self that relies on affective artifacts and practices to construct its identity extended beyond skin and skull. (shrink)

I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.

The extended mind thesis claims that mental states need not be confined to the brain or even the biological borders of the subject. Philosophers and cognitive scientists have in recent years debated the plausibility of this thesis, growing an immense body of literature. Yet despite its many supporters, there have been relatively few attempts to apply the thesis to religious studies, particularly studies of religious cognition. In this essay, I indicate how various dimensions of religious cognition might be thought of (...) as extended. In particular, I focus on the mutually-supporting relationship between religious cognition and material culture: the many things we use to organize and enact our religious practices and beliefs, from relics and rituals to songs and holy spaces. As we’ll see, taking the extended mind thesis seriously suggests that an investigation of religious material culture is, simultaneously, an investigation of religious cognition. (shrink)