One of the main positions in the contemporary debate on joint attention is John Campbell’s relationalist account. This account has been welcomed as extremely promising in some strands of philosophy and cognitive science, but it has recently been subject to renewed criticism. In this paper, I take a sympathetic approach toward Campbell’s relationalism and I provide support for it by means of a naturalistic theory of the individuation of joint-attentional states. I start from examining some recent objections raised against Campbell’s (...) account. I suggest that, although these objections do not undermine the account, they point to questions that current relationalism leaves unanswered. Specifically, current relationalism does not provide an explanation of the psychological processes through which a joint-attentional experience is individuated, i.e., assembled and experienced, in such a way that it can constitute an immediate justification for a coordinated action. I propose that such an explanation can be found in a phenomenological-interactionist approach to shared intentionality. (shrink)

Husserl’s writings on sociality have received increasing attention in recent years. Despite this growing interest, Husserl’s reflections on the specific role of communication remain underexplored. In this paper, we aim to fill this gap by reconstructing the various ways in which Husserl draws systematic connections between communication and communalization. As will become clear, Husserl’s analysis converges with much more recent ideas defended by Margaret Gilbert and Naomi Eilan.

During the Covid-19 pandemic we increasingly turned to technology to stay in touch with our family, friends, and colleagues. Even as lockdowns and restrictions ease many are encouraging us to embrace the replacement of face-to-face encounters with technologically mediated ones. Yet, as philosophers of technology have highlighted, technology can transform the situations we find ourselves in. Drawing insights from the phenomenology of sociality, we consider how digitally-enabled forms of communication and sociality impact our experience of one another. In particular, we (...) draw attention to the way in which our embodied experience of one another is altered when we meet in digital spaces, taking as our focus the themes of perceptual access, intercorporeality, shared space, transitional spaces, and self-presentation. In light of the way in which technological mediation alters various dimensions of our social encounters, we argue that digital encounters constitute their own forms of sociality requiring their own phenomenological analysis. We conclude our paper by raising some broader concerns about the very framework of thinking about digitally and non-digitally mediated social encounters simply in terms of replacement. (shrink)

After having identified several shortcomings of the so-called ‘standard accounts’ of shared intentions, this paper will develop a novel framework for understanding such intentions. The framework to be advanced hinges on a notion of ‘expression’, as well as on the claim that shared intentions are expressed—that is, manifested, grasped, shaped and clarified—throughout the unfolding of the joint actions they animate, as well as in the various expressive activities and behaviours that accompany joint action. This claim will be defended with particular (...) reference to the work of Charles Taylor on expression, as well as recent work on embodied cognition. (shrink)

We can look at paintings, listen to music, dance, play instruments, and watch movies, on our own almost anytime, anywhere. That is, we have effortless, on-demand access to an abundance of private aesthetic experiences. Why, then, do we seek out aesthetic experiences together? Indeed, it is not controversial to claim that listening to music, dancing, and watching films are activities that we do together more so than we do on our own. While the significance of interpersonal aesthetic experiences, and what (...) explains that significance, is not uncharted territory, I claim that more precision regarding the kinds of relations and interactions that modulate and enable different kinds of interpersonal aesthetic experiences is warranted than is offered in extant literature. As such, an enactive approach that not only foregrounds embodiment and intersubjectivity in cognition, but duly explains how variations in them cause variations in cognition, is paramount to my explanation. Here, then, I marshal three ‘varieties’ of interpersonal aesthetic experience that I term aggregative, synchronised, and shared aesthetic experiences. In doing so, I explain what makes them particularly worthwhile, while introducing terminological and explanatory clarity to the literature as a unifying base from which future research can unfold. (shrink)