Creativity is often conceived in terms of insight, innovation, and invention realized through technical mastery and skill. Challenging this individualistic model are “inventions” like writing, something that surely gave no clue to the form it would ultimately take—script—or the ways in which it would reorganize behaviors and brains in the cognitive state known as literacy. Here writing is analyzed as a tool used collectively and collaboratively. Collective, collaborative use enabled the tool to become increasingly effective at eliciting specific behavioral and (...) psychological responses. Collective, collaborative use also subjected the tool to the combined force of the individual variability represented by different user and material combinations over time. Combined variability influenced tool form toward features reflecting both the average behavioral, physiological, and psychological capacities of the tool-using community and points of maximal usability. The result offers a new model of creativity, one based not on the individual but on collective, collaborative use and incremental change in behaviors and brains, materially accumulated and redistributed between generations. The model presents aspects of human innovation that escape the individualistic model by focusing on ordinary tool-using behaviors and sustained use within social groups as the critical elements. (shrink)

I introduce the seven papers in this special issue, by Andy Clark, Je´roˆme Dokic, Richard Menary, Jenann Ismael, Sue Campbell, Doris McIlwain, and Mark Rowlands. This paper explains the motivation for an alliance between the sciences of memory and the extended mind hypothesis. It examines in turn the role of worldly, social, and internalized forms of scaffolding to memory and cognition, and also highlights themes relating to affect, agency, and individual differences.

In a newly designed collaborative online music course, four musical novices unknown to each other learned to play the clarinet starting from zero. Over the course of 12 lessons, a special emphasis was placed on creativity, mutual interaction, and bodily movement. Although addressing these dimensions might be particularly challenging in distance learning contexts, a thematic analysis of semi-structured interviews with the learners revealed how the teaching approach proposed has generally facilitated learning. Qualitative findings highlight the importance of establishing meaningful relationships (...) with the musical instrument as well as with other students to build musicality, and of the interplay between creativity and control in individual and collective music-making activities. We suggest that remote music tuition with a small group can be a valuable resource to start learning music and that a creative, collaborative, and movement-based approach can contribute to musical growth. (shrink)

Problem solving in a materially rich environment requires interacting with chance. Sixty-four participants were invited to solve 5-letter anagrams presented as movable tiles in conditions that either allowed the participants to move the tiles as they wished or only allowed random shuffling (without rearranging the tiles post shuffling) thus contrasting pure luck with an interactive model. We hypothesised that shuffling would break unhelpful mental sets and introduce beneficial unplanned problem-solving trajectories. However, participants performed significantly worse when shuffling, which suggests luck (...) plays less of a role than has been previously suggested. Granular analysis of seven critical cases revealed arbitrary path dependency across both conditions and moments of missed luck. It also questions current models of non-agentic luck and the ability to separate agent and luck. This research has implications for fostering better problem solving in an uncertain and fluid world. (shrink)

“4E” cognitive science has demonstrated that embodied coupling offers powerful resources for reasoning. Despite a surge of studies, little empirical attention is paid to discussing the precise scope of these resources and their possible complementariness with traditional knowledge-based inference. We use decision-making in Shiatsu practice – a bodywork method that employs hands-on interaction with a client – to showcase how the two types of cognitive resources can mesh and offer alternative paths to a task: “Local” resources such as embodied presence, (...) empathy, attunement, as well as skilled perception-action coupling are not only central for implementing a successful therapeutic intervention. The immediate coupling with a client also offers basic means of deciding about fitting and meaningful interventions. Yet, when comprehensive intervention strategies are at stake, Shiatsu decision making must be complemented through “non-local” resources, notably inferences rooted in anatomy/physiology knowledge, categories, heuristics, and mental models. To draw out implications for “4E” cognitive science, we argue that “local” embodied coupling and “non-local” conceptual inferences can functionally complement, inform, and scaffold each other in a dialectic process. (shrink)

Dance creation involves complex psychological activities. Although previous studies have conducted extensive investigations on the psychological aspects of choreographers’ creations, little is known regarding the psychological barrier of choreographers in terms of creativity. The study aims to explore the psychological barrier of innovation in dance choreography, which is a kind of situation between mental illness and mental problems. The research shows that improvisational dance is a free dance with the human body as a material carrier, and it is a dance (...) form that the dancer’s thinking is transformed into dance action to express their inner thoughts. The improvement of the potential creative thinking of dance creators through the improvisational dance movement and structure are explored. Meanwhile, the theoretical ideas of psychologists have been applied to the cultivation and improvement of improvisational dance creativity, which has made full certification and supplement. Moreover, through psychological experiments, it is proved that improvisational dance is an important way to release and develop creativity. Based on the theory of psychology, feasible suggestions are given to improve students’ creative ability in the process of improvisational dance teaching. (shrink)

Cognitive archaeologists infer from material remains to the cognitive features of past societies. We characterize cognitive archaeology in terms of trace-based reasoning, which in the case of cognitive archaeology involves inferences drawing upon background theory linking objects from the archaeological record to cognitive features. We analyse such practices, examining work on cognitive evolution, language, and musicality. We argue that the central epistemic challenge for cognitive archaeology is often not a paucity of material remains, but insufficient constraint from cognitive theories. However, (...) we also argue that the success of cognitive archaeology does not necessarily require well-developed cognitive theories: Success might instead lead to them. (shrink)

To carry out an ethnographic study on the work process in the sterilization unit of a hospital in Catalonia, we found the socially distributed cognition approaches of Hutchins and Kirsh useful. However, these approaches lack sufficient explanation on three important issues: the pragmatic criteria for identifying and delimiting a relevant unit of analysis and therefore the setting and contexts of the work process; the mechanisms and results of reciprocal influences between these levels of analysis; and the relation between these levels. (...) Therefore, we added several new elements to these approaches, in addition to Layder's model of contexts with some important modifications, with the aim of offering an interactive, cognitive and social proposal of analysis that clarifies these three issues, allowing a more exhaustive and broader empirical analysis that captures better the ‘social’ dimension embedded in the work processes. (shrink)