Joint attention occurs when two (or more) individuals attend together to some object. It has been identified by psychologists as an early form of our joint engagement, and is thought to provide us with an understanding of other minds that is basic in that sophisticated conceptual resources are not involved. Accordingly, it has also attracted the interest of philosophers. Moreover, a very recent trend in the psychological and philosophical literature on joint attention consists of developing the suggestion that it holds (...) partially in virtue of communication: it is because we share our thoughts or feelings about an object that our individual attention becomes joint. This paper unpacks the communicative suggestion in a way that accounts for joint attention's basicness. (shrink)

In this paper I argue that there are gestalt principles underlying intersubjective interactions and that this means that intersubjective ‘units’, can be recognised as unified gestalt wholes. The nub of the claim is that interactions within a ‘plural subject’ can be perceived by others outside this plural subject. Framed from the first-person perspective: I am able to recognise intersubjective interactions between multiple others who are not me. I argue that the terminology of gestalt structures is helpful in framing and understanding (...) the non-reducible make-up of these relational units. I consequently defend the legitimacy of the claim that we can attend to more than one other person at once, holding multiple others as a single focus of attention insofar as we can attend to multiple others as a gestalt whole. I argue that it is therefore legitimate to talk about attending to, perceiving and addressing multiple others at the same time, in the second-person plural. I argue that this can be identified in the phenomenology of such interactions and in an analysis of the core underlying structures of these interactions. (shrink)

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...) others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

This paper raises an underappreciated paradox for classical theism. Love seems to be an inherently biased and partial relation. Justice seems to require the opposite, detached impartiality (think of the attributes of the just judge). But if these are conceptual facts, then classical theism is guilty of ascribing inconsistent attributes to God: perfect love and perfect justice. I resolve this paradox in a manner that weighs in favor of the principle of divine simplicity.

Modularity theorists have challenged that there are, or could be, general learning mechanisms that explain theory-of-mind development. In response, supporters of the ‘scientific theory-theory’ account of theory-of-mind development have appealed to children's use of auxiliary hypotheses and probabilistic causal modeling. This article argues that these general learning mechanisms are not sufficient to meet the modularist's challenge. The article then explores an alternative domain-general learning mechanism by proposing that children grasp the concept belief through the progressive alignment of relational structure that (...) occurs as a result of structural-comparison. The article also explores the implications of the proposed account for Fodor's puzzle of conceptual learning. (shrink)

The Christian intellectual tradition consistently affirms that God is present in and continues to speak through Scripture. These functions of the Christian Scriptures have been underexamined in contemporary philosophy of religion and philosophical theology. Careful attention to the phenomenon of shared attention is instructive for providing an account of these matters, and the shared attention account developed here provides a useful conceptual framework within which to situate recent work on Scripture by scholars such as Kevin Vanhoozer, Nicholas Wolterstorff, and Michael (...) Rea. (shrink)

In this paper, we argue that to reverse the excess of specialization and to create room for interdisciplinary cross-fertilization, it seems necessary to move the existing epistemic plurality towards a collaborative process of social cognition. In order to achieve this, we propose to extend the psychological notion of joint attention towards what we call joint intellectual attention. This special kind of joint attention involves a shared awareness of sharing the cognitive process of knowledge. We claim that if an interdisciplinary research (...) team aspires to work collaboratively, it is essential for the researchers to jointly focus their attention towards a common object and establish a second-person relatedness among them. We consider some of the intellectual dispositions or virtues fostered by joint intellectual attention that facilitate interdisciplinary exchange, and explore some of the practical consequences of this cognitive approach to interdisciplinarity for education and research. (shrink)

In this paper, I am going to be concerned with the capacity of human beings to act jointly. In particular, I will focus on the phenomenal aspect of collective action. I shall suggest that the experience of being jointly engaged with another is complex: it comprises both a practical grasp of oneself and of the other person as single agents participating in the joint pursuit, and an experience of collective immersion in the activity, which includes a sense of joint control. (...) This suggestion gives rise to a number of puzzles: firstly, what is the relation between jointly engaged agents' awareness of self and other and their sense of a joint engagement? Secondly, how are we to substantiate the idea of a sense of joint control if it is also obviously true that I don't, however close our psychological and bodily attunements, have control over your doings? I shall argue that a satisfactory solution to these puzzles is possible only if we take seriously the notion of a perceptually constituted “intersubjective perspective” that is shared by the participants in joint activities and gives rise to an attitude of mutual trust. (shrink)