Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? (...) What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence. (shrink)

What forms of consciousness can the subject have of her body in action? This is a recurrent issue in contemporary research on skilled movement and expertise, and according to a widespread view, the body makes itself inconspicuous in performance in favour of the object or goal that the activity is directed to. However, this attitude to consciousness in bodily performance seems unsatisfying for an understanding of skilled action, and the work of several researchers can be seen as responding to this (...) view: Montero, Legrand, Ravn and others in the philosophy of expertise and of dance have developed various notions of consciousness and cognition to account for the mindful processes at play in performance. Two related questions can be distinguished here: 1. Is there an inherent conflict between skilled action and at least more than marginal awareness of that action, or is it possible – and even desirable – to reflect on our own performance without considerably impeding on it? 2. What forms of consciousness pertaining to the body in action must we distinguish in order to answer the first question? This paper gives an overview of this discussion, focusing on the second issue, although the first will come into play in so far as it is linked with the latter question. Drawing on Merleau-Ponty’s analyses of bodily reflection and on dancers’ descriptions, I show that there is, in phenomenological terms, a bodily level of reflection: a fully conscious and exploratory activity that is led by the skilled body, and that is explicitly aimed at by many performers. (shrink)

Much of our everyday, embodied action comes in the form of smooth coping. Smooth coping is skillful action that has become habituated and ingrained, generally placing less stress on cognitive load than considered and deliberative thought and action. When performed with skill and expertise, walking, driving, skiing, musical performances, and short-order cooking are all examples of the phenomenon. Smooth coping is characterized by its rapidity and relative lack of reflection, both being hallmarks of automatization. Deliberative and reflective actions provide the (...) contrast case. In Dreyfus’ classic view, smooth coping is “mindless” absorption into action, being in the flow, and any reflective thought will only interrupt this flow. Building on the pragmatist account of Dewey, others, such as Sutton, Montero, and Gallagher, insist on the intelligent flexibility built into smooth coping, suggesting that it is not equivalent to automatization. We seek to answer two complementary challenges in this article. First, how might we model smooth coping in autonomous agents at fine granularity? Second, we use this model of smooth coping to show how we might implement smooth coping in artificial intelligent agents. We develop a conceptual model of smooth coping in LIDA. LIDA is an embodied cognitive architecture implementing the global workspace theory of consciousness, among other psychological theories. LIDA’s implementation of consciousness enables us to account for the phenomenology of smooth coping, something that few cognitive architectures would be able to do. Through the fine granular analysis of LIDA, we argue that smooth coping is a sequence of automatized actions intermittently interspersed with consciously mediated action selection, supplemented by dorsal stream processes. In other words, non-conscious, automatized actions often require occasional bursts of conscious cognition to achieve the skillful and flexible adjustments of smooth coping. In addition, never-conscious dorsal stream information and associated sensorimotor processes provide further online adjustments during smooth coping. To achieve smooth coping in LIDA we introduce a new module to the LIDA cognitive architecture the Automatized Action Selection sub-module. Our complex model of smooth coping borrows notions of “embodied intelligence” from enactivism and augments these by allowing representations and more detailed mechanisms of conscious control. We explore several extended examples of smooth coping, starting from basic activities like walking and scaling up to more complex tasks like driving and short-order cooking. (shrink)

Drawing on recent phenomenological discussions of collective intentionality and existential phenomenological accounts of agency, this article proposes a novel interpretation of shared action. First, I argue that we should understand action on the basis of how an environment pre-reflectively solicits agents to behave based on (a) the affordances or goals inflected by their abilities and dispositions and (b) their self-referential commitment to a project that is furthered by these affordances. Second, I show that this definition of action is sufficiently flexible (...) to account for not only individual action (in which both (a) and (b) refer only to an individual) but also several distinct subtypes of shared action. My thesis is that behaviour counts as shared action if and only if it is caused by a solicitation in which either (a) the goals, or (b) the commitments, or both (a) goals and (b) commitments are joint, i.e., depend on several individuals. We thereby get three distinct subtypes of shared actions: (i) jointly coordinated individually committed action, (ii) individually coordinated jointly committed action, and (iii) jointly coordinated jointly committed action. (shrink)

The acquisition of a new skill usually proceeds through five stages, from novice to expert, with a sixth stage of mastery available for highly motivated performers. In this chapter, we re-state the six stages of the Dreyfus Skill Model, paying new attention to the transitions and interrelations between them. While discussing the fifth stage, expertise, we unpack the claim that, “when things are proceeding normally, experts don’t solve problems and don’t make decisions; they do what normally works” (Dreyfus & Dreyfus, (...) 1988, pp. 30 – 31). This leads us to offer an account of the “perspectival deliberation” that arises for experts and masters and that is distinct from the calculative deliberation characteristic of the lower stages of skillfulness. (shrink)

Dual-process theories divide cognition into two kinds of processes: Type 1 processes that are autonomous and do not use working memory, and Type 2 processes that are decoupled from the immediate situation and use working memory. Often, Type 1 processes are also fast, high capacity, parallel, nonconscious, biased, contextualized, and associative, while Type 2 processes are typically slow, low capacity, serial, conscious, normative, abstract, and rule-based. This article argues for an embodied dual-process theory based on the phenomenology of Martin Heidegger. (...) According to Heidegger, the basis of human agents’ encounters with the world is in a prereflective, pragmatically engaged disposition marked by readiness-to-hand (Zuhandenheit), sometimes equated with “smooth coping.” Examples of smooth coping include walking, throwing a ball, and other embodied actions that do not require reflective thought. I argue that smooth coping primarily consists of Type 1 processes. The Heideggerian dual-process model yields distinctly different hypotheses from Hubert Dreyfus’ model of smooth coping, and I will critically engage with Dreyfus’ work. (shrink)

In this paper we engage in a reciprocal analysis of situated cognition and the notion of ‘meshed architecture’ as found in performance studies (Christensen, Sutton & McIlwain 2016). We argue that the model of meshed architecture can operate as a tool that enables us to better understand the notion of situated cognition. Reciprocally, by means of this new understanding of situation we develop a richer conception of meshed architecture. This enriched notion of a meshed architecture includes affect and bottom-up, non-automatic, (...) intrinsic control aspects of body-schematic processes and intelligent habits, on a vertical axis, as well as extended, ecological and worldly (material, normative, social, cultural) constraints and affordances on a horizontal axis. This gives us a very productive way to think about how various elements come together in skilled action and performance, but also a detailed way to characterize situated cognition. (shrink)

I argue that Hubert Dreyfus’ work on embodied coping, the intentional arc, solicitations and the background as well as his anti-representationalism rest on introspection. I denote with ‘introspection’ the methodological malpractice of formulating ontological statements about the conditions of possibility of phenomena merely based on descriptions. In order to illustrate the insufficiencies of Dreyfus’ methodological strategy in particular and introspection in general, I show that Heidegger, to whom Dreyfus constantly refers as the foundation of his own work, derives ontological statements (...) about the conditions of possibility of phenomena not merely from descriptions, but also from analyses. I further show that deriving ontological statements directly from descriptions entails implausible results. I do so by discussing representative cases. Based on these general methodological considerations, I show that Dreyfus’ work on action, skill and understanding is introspective. First, I demonstrate that Dreyfus’ influential claim that rules and representations do not govern skillful actions is the result of introspection, because it is merely founded on the absence of rules and representations in representative descriptions of skillful actions. Second, I show that Dreyfus’ work on embodied coping, the intentional arc, solicitations and the background is also based on introspection. These ontological structures are merely reifications of descriptions and are not further substantiated by analyses. (shrink)

On the phenomenological view, a minimal form of self-consciousness is a constant structural feature of conscious experience. Experience happens for the experiencing subject in an immediate way and as part of this immediacy, it is implicitly marked as my experience. For the phenomenologists, this immediate and first-personal givenness of experiential phenomena must be accounted for in terms of a pre-reflective self-consciousness. In the most basic sense of the term, selfconsciousness is not something that comes about the moment one attentively inspects (...) or reflectively introspects one's experiences, or in the instant of self-recognition of one's image in the mirror, or in the proper use of the first-person pronoun, or in the construction of a self-narrative. Rather, these different kinds of self-consciousness are to be distinguished from the pre-reflective self-consciousness which is present whenever I am living through or undergoing an experience, i.e., whenever I am consciously perceiving the world, whenever I am thinking an occurrent thought, whenever I am feeling sad or happy, thirsty or in pain, and so forth. (shrink)

In this paper, I explore the question of agency in spontaneous action via a phenomenology of musical improvisation, drawing on fieldwork conducted with large con- temporary improvising ensembles. I argue that musical improvisation is a form of ‘participatory sense-making’ in which musical decisions unfold via a feedback pro- cess with the evolving musical situation itself. I describe how musicians’ technical expertise is developed alongside a responsive expertise, and how these capacities complicate the sense in which habitual action can be viewed (...) as pre-conscious or ‘automatic.’ Nevertheless, I shall argue that the self-awareness required for expert improvisation does not amount to highly reflective deliberation, arguing instead that the practice of musical improvisation involves an exercise of practical rationality, akin to what Aristotle called phronēsis. Musical decisions – as an expressive form of sense-making – are guided by feelings of ‘rightness’ that are experienced directly and intuitively, responding to the norms and reasons that are embedded in the instruments, sounds, and practices of a particular (sub)culture. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, (...) with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

Intense aesthetic experiences are often described in terms of self-forgetfulness, where the perceiver becomes immersed in the aesthetic phenomenon to the extent of losing consciousness of being the subject of the experience. Although such experiences have been described from the early eighteenth century onwards, there is still a surprising lack of detailed investigation on the precise nature of aesthetic self-forgetfulness. What happens in this experience, and precisely what is the ‘self’ that is forgotten? Building on phenomenological theories of self-consciousness, I (...) argue that aesthetic self-forgetfulness cannot be understood as an absolute eradication of the self, as a pre-reflective self-consciousness stays intact even in deeply immersive aesthetic experiences. Thus, I argue that talk of self-forgetfulness is to some extent misleading, and the changes in the subject’s self-relation during aesthetic experience is better understood in terms of an altered sense of agency. (shrink)

The paper defends the position that phenomenological interviews can provide a rich source of knowledge and that they are in no principled way less reliable or less valid than quantitative or experimental methods in general. It responds to several skeptic objections such as those raised against introspection, those targeting the unreliability of episodic memory, and those claiming that interviews cannot address the psychological, cognitive and biological correlates of experience. It argues that the skeptic must either heed the methodological and epistemological (...) justification of the phenomenological interview provided, or embrace a more fundamental skepticism, a “deep mistrust”, in which scientific discourse can have no recourse to conscious processes as explananda, with ensuing dire consequences for our conception of science. (shrink)

Ecological psychologists and enactivists agree that the best explanation for a large share of cognition is nonrepresentational in kind. In both ecological psychology and enactivist philosophy, then, the task is to offer an explanans that does not rely on representations. Different theorists within these camps have contrasting notions of what the best kind of nonrepresentational explanation will look like, yet they agree on one central point: instead of focusing solely on factors interior to an agent, an important aspect of cognition (...) is found in the link or coupling between an agent and the external world. This link is fluid, dynamic, and active in a variety of ways, and we do not need to add any internal extra something in the perception-action-cognition process. At the same time, even devout defenders of ecological psychology and enactivism recognize that plenty happens inside an agent during cognition. In particular, no one denies that the brain plays an important role. What, then, is the role of the brain if it’s not in the game of representing the environment? One possible option is to describe the brain as a resonant organ instead of a representational organ. In this paper we consider the history of resonance in more detail. Particular focus will be placed on two different sets of approaches that have developed the concept of resonance: a representational reading of resonance and a nonrepresentational, dynamic account of resonance. We then apply these accounts to a case study on music performance, specifically in the context of standard tonal jazz. From this application, we propose that a nonrepresentational resonance account consistent with both enactivism and ecological psychology is a viable way of explaining jazz performance. We conclude with future considerations on research regarding the brain as a resonant organ. (shrink)

It has been hypothesized that postperformance memory gaps occur in highly skilled individuals because experts generally perform their skills without conscious attention. In contrast, we hypothesize that such memory gaps may occur when performers focus so intently on their unfolding actions that their ongoing attention interferes with long-term memory formation of what was previously attended to, or when performers are highly focused on aspects of their bodily skills that are not readily put into words. In neither case, we argue, does (...) performance proceed automatically yet both situations, we suggest, may lead to an inability to recollect performance. (shrink)

This article proposes a communicative, imitative, and reflective account of musical learning and expertise. It starts from an affirmative yet critical reading of Høffding and collaborators, notably their idea of a musical arch, meant to bridge distinctions between low-level procedural enactment and high-level reflective cognition. While we embrace much of their analysis, we argue that they uphold tensions between these levels. Drawing on recent enactivist thought, phenomenological and hermeneutic resources, and developmental psychology, we propose a ‘linguistic turn’ that allows us (...) to situate the enactive body in what has been called an ‘original communication-situation’. The original communication-situation encompasses procedural proto-linguistic behaviour and a reflexive level of linguistic co-intentionality procedurally coupled with other bodies. From this perspective, musical co-creation within the normative space of the musical arch is a dialectical actualization of vertical and horizontal experience, reflecting transformative accomplishments of symbolic bodies within a linguistic field of participatory sense-making. The normative space of musical performance is the result of emergent features of music as embodied social practice. (shrink)

Although tranquility is a fundamental aspect of human life, the experiential nature of tranquility remains elusive. Traditionally, many philosophical, religious, spiritual, or mystical traditions in East and West have strived to reach tranquil experiences and produced texts serving as manuals to reach them. Yet, no attempt has been made to compare experiences of tranquility and explore what they may have in common. The purpose of this theoretical study is to explore the experiential nature of tranquility. First, we present examples of (...) what we consider some of the most central experiences of tranquility in Eastern and Western traditions. For the sake of simplicity, we sort these examples into four categories based on their experiential focus: the body, emotions, the mind, and mysticism. Second, we offer an exploratory account of tranquility, arguing that the different examples of tranquility seem to share certain experiential features. More specifically, we propose that the shared features pertain both to the content or quality of the tranquil experiences, which involves a sense of presence and inner peace, and to the structure of these experiences, which seems to involve some degree of detachment and absorption. (shrink)

Although the importance of the concept of immersion in game studies is indisputable, its meaning remains imprecise and ambiguous. My goal here is to develop a phenomenological clarification of this concept. I begin by clarifying how immersion has been understood in game studies. I further contend that immersion in digital games should be recognized as one modality of immersion among others. This basic realization allows one to open a dialogue between game studies and phenomenology. I develop a phenomenological conception of (...) immersion, which relies on Alfred Schutz’s phenomenology of multiple realities and Theodor Conrad’s phenomenology of immersion. Although such an approach provides us with a general conception of immersion, it does not clarify what specific features characterize immersion in digital games. I argue that this form of immersion is a hybrid phenomenon, which shares certain features with immersion in non-digital games and other features with immersion in other types of digital media. I further demonstrate that immersion in digital games is characterized by a specific function of embodiment. With this in mind, I conclude my analysis by introducing a phenomenologically grounded distinction between actual and virtual embodiment, thereby clarifying in which sense immersion in digital games is an embodied and a disembodied experience. (shrink)

In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired interviews (...) with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself as coupled with the world. Understanding music-making as a pre-eminent case of exploration helps us explicate and appreciate the developmental, sensorimotor, and more advanced cognitive resources that exist in music-making activities. (shrink)

While the past decade has witnessed a proliferation of work in the intersection between phenomenology and empirical studies of cognition, the multitude of possible methodological connections between the two remains largely uncharted. In line with recent developments in enactivist ethnography, this article contributes to the methodological multitude by proposing an integration between phenomenological interviews and cognitive video ethnography. Starting from Schütz’s notion of the _taken-for-granted_ (_das Fraglos-gegeben_), the article investigates a complex work environment through phenomenological interviews and Cognitive Event Analysis, (...) drawing on distributed cognition and embodied cognitive science. The methodological integration is illustrated through the study of an adverse event in a highly specialised medical ward. Starting from a nurse’s task of administering medicine to a patient, the analysis tracks how a distributed cognitive system in the ward handles an adverse event where a pill becomes contaminated. The analysis demonstrates how complex decision-making processes depend on agents’ micro-scale embodied coordination, on their engagement with the material environment, and their anticipation of other agents’ intentions. It is concluded that ethnography can accommodate both cognitive and phenomenological research aims, while also contributing to the important mission of understanding successful responses to adverse events in healthcare. The article further contributes to patient safety studies by demonstrating how safe medicine administration itself can lead to increased risk, hereby pointing to a problem of incompatible safety logics as a source of medication errors in healthcare. (shrink)

The paper presents two empirical cases of expert musicians—a classical string quartet and a solo, free improvisation saxophonist—to analyze the explanatory power and reach of theories in the field of expertise studies and joint action. We argue that neither the positions stressing top-down capacities of prediction, planning or perspective-taking, nor those emphasizing bottom-up embodied processes of entrainment, motor-responses and emotional sharing can do justice to the empirical material. We then turn to hybrid theories in the expertise debate and interactionist accounts (...) of cognition. Attempting to strengthen and extend them, we offer ‘Arch’: an overarching conception of musical interaction as an externalized, cognitive scaffold that encompasses high and low-level cognition, internal and external processes, as well as the shared normative space including the musical materials in which the musicians perform. In other words, ‘Arch’ proposes interaction as a multivariate multimodal overarching scaffold necessary to explain not only cases of joint performance, but equally of solo improvisation. (shrink)

We explore the nature of expert minds in skilled performance by examining classic Japanese dramatist Zeami’s account of skilled expertise in Noh drama. Zeami characterizes expert minds by the co-existence of mushin and riken no ken. Mushin is an empty state of mind devoid of mental contents. Riken no ken is a distinctive form of self-awareness, where the actor embodies a common perspective with the audience upon one’s own performance. Conventional accounts of riken no ken present it as a form (...) of imagination: expert actors deliver their performance by imagining what it looks like from an external point of view. These imagination-based accounts, however, do not square well with the claim that riken no ken co-exists with mushin. We propose an alternative perception-based account that better accounts for this co-existence, drawing on the concept of “situated normativity” from embodied-ecological theories of cognition. The situated normativity account characterizes riken no ken as a form of “direct affective perception” in which actors are aware of their performance’s quality of attunement with the performative situation. Expert Noh actors realise a common perspective with the audience not by imagining an external point of view, but by perceiving the situation that encompasses their own performance from an aesthetic perspective cultivated and shared within the Noh community. (shrink)

In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews based on video recordings of their performance were conducted (...) individually with all team members; and third, the performance was evaluated by external artistic swimming experts. By combining these levels of analysis in different ways, we explore how changes in togetherness and lived experience in individual behavior may shape, disrupt, and stabilize joint performance. Our findings suggest that the experience of being and acting together is transient and changing, often alternating phases of decrease and increase in felt togetherness that can be consistently recognized by swimmers and external raters. (shrink)

Midwest Studies In Philosophy, Volume 44, Issue 1, Page 38-47, December 2019.