Richard Heersmink argues that self‐narratives are distributed across embodied organisms and their environment, given that their building blocks, autobiographical memories, are distributed. This argument faces two problems. First, it commits a fallacy of composition. Second, it relies on Marya Schechtman's narrative self‐constitution view, which is incompatible with the distributed cognition framework. To solve these problems, this article develops an alternative account of self‐narratives. On this account, we actively connect distributed autobiographical memories through distributed conversational and textual self‐narrative practices. This account (...) enhances our understanding of the memory–narrative nexus and has implications for philosophical conceptions of self. (shrink)

It has been recently suggested that if the Extended Mind thesis is true, mental privacy might be under serious threat. In this paper, I look into the details of this claim and propose that one way of dealing with this emerging threat requires that data ontology be enriched with an additional kind of data—viz., mental data. I explore how mental data relates to both data and metadata and suggest that, arguably, and by contrast with these existing categories of informational content, (...) mental data should not be merely legally protected. Rather, if we value mental privacy as we know it, technological measures should be employed to ensure that one’s mental data are practically—not just legally—impossible for others to obtain. (shrink)

Human behavior and thought often exhibit a familiar pattern of within group similarity and between group difference. Many of these patterns are attributed to cultural differences. For much of the history of its investigation into behavior and thought, however, cognitive science has been disproportionately focused on uncovering and explaining the more universal features of human minds—or the universal features of minds in general. -/- This entry charts out the ways in which this has changed over recent decades. It sketches the (...) motivation behind the cultural turn in cognitive science, and situates some of its central findings with respect to the questions that animate it and the debates that it has inspired. Woven throughout the entry are examples of how the cognitive science of culture, and especially its elevated concern with different forms of diversity and variation, continues to influence and be influenced by philosophers. -/- One cluster of philosophical work falls within the traditional subject matter of philosophy of science, in this case of the cognitive and social sciences. Philosophers have analyzed and assessed the methods and evidence central to the scientific study of cognition and culture, and have offered conceptual scrutiny, clarification, and synthesis. Research in a second vein sees philosophers themselves contributing more directly to cognitive scientific projects, (co)constructing theories, helping build computational models, even gathering empirical data. A third kind of work is naturalistic philosophy or philosophy of nature, wherein philosophers seek to use results from the cognitive science of culture to inform or transform debates over long-standing philosophical questions, including questions about the nature of philosophy and philosophical methodology itself. (shrink)

One goal of this paper is to argue that autobiographical memories are extended and distributed across embodied brains and environmental resources. This is important because such distributed memories play a constitutive role in our narrative identity. So, some of the building blocks of our narrative identity are not brain-bound but extended and distributed. Recognising the distributed nature of memory and narrative identity, invites us to find treatments and strategies focusing on the environment in which dementia patients are situated. A second (...) goal of this paper is to suggest various of such strategies, including lifelogging technologies such as SenseCams, life story books, multimedia biographies, memory boxes, ambient intelligence systems, and virtual reality applications. Such technologies allow dementia patients to remember their personal past in a way that wouldn’t be possible by merely relying on their biological memory, in that way aiding in preserving their narrative identity and positively contributing to their sense of well-being. (shrink)

This essay outlines one way to conceptualise the relation between cultural identity, collective memory, and artifacts. It starts by characterising the notion of cultural identity as our membership to cultural groups and briefly explores the relation between cultural and narrative identity (section 2). Next, it presents how human memory is conceptualised on an individual and collective level (section 3) and then distinguishes between small-scale and large-scale collective memory (section 4). Having described cultural identity and collective memory, it argues that cultural (...) identity is materialised in the environment when we retrieve and construct collective memories by integrating information from our biological memory with information in artifacts or in other people’s embodied brains (section 5). This essay ends with analysing how materialised cultural identities are constructed by using a niche construction approach from evolutionary biology (section 6). (shrink)

The primary goal of this essay is to provide a comprehensive overview and analysis of the various relations between material artifacts and the embodied mind. A secondary goal of this essay is to identify some of the trends in the design and use of artifacts. First, based on their functional properties, I identify four categories of artifacts co-opted by the embodied mind, namely (1) embodied artifacts, (2) perceptual artifacts, (3) cognitive artifacts, and (4) affective artifacts. These categories can overlap and (...) so some artifacts are members of more than one category. I also identify some of the techniques (or skills) we use when interacting with artifacts. Identifying these categories of artifacts and techniques allows us to map the landscape of relations between embodied minds and the artifactual world. Second, having identified categories of artifacts and techniques, this essay then outlines some of the trends in the design and use of artifacts, focussing on neuroprosthetics, brain-computer interfaces, and personalisation algorithms nudging their users towards particular epistemic paths of information consumption. (shrink)

This essay outlines one way to conceptualise the relation between cultural identity, collective memory, and artifacts. It starts by characterising the notion of cultural identity as our membership to cultural groups and briefly explores the relation between cultural and narrative identity (section 2). Next, it presents how human memory is conceptualised on an individual and collective level (section 3) and then distinguishes between small-scale and large-scale collective memory (section 4). Having described cultural identity and collective memory, it argues that cultural (...) identity is materialised in the environment when we retrieve and construct collective memories by integrating information from our biological memory with information in artifacts or in other people’s embodied brains (section 5). This essay ends with analysing how materialised cultural identities are constructed by using a niche construction approach from evolutionary biology (section 6). (shrink)

I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, (...) using the metamorphogram in artistic works suggests a bi-directional relationship between individual autobiographical memory and shared cultural memory. A model of this relationship fails to align with existing definitions of cultural memory, and may represent a new form: sociobiographical memory. I propose that the experiences documented here make the case for promoting a mutually beneficial relationship between philosophy and other creative disciplines, including photography. (shrink)