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  1. Musical Worlds and the Extended Mind.Joel Krueger - 2018 - Proceedings of A Body of Knowledge - Embodied Cognition and the Arts Conference CTSA UCI, 8-10 Dec 2016.
    “4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music can (at least potentially) scaffold various (...)
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  • Aesthetics and Action: Situations, Emotional Perception and the Kuleshov Effect.Matthew Crippen - forthcoming - Synthese:1-19.
    This article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while perceiving (...)
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  • Exploring the Multi-Layered Affordances of Composing and Performing Interactive Music with Responsive Technologies.Anna Einarsson & Tom Ziemke - 2017 - Frontiers in Psychology 8.
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  • Varieties of Extended Emotions.Joel Krueger - 2014 - Phenomenology and the Cognitive Sciences 13 (4):533-555.
    I offer a preliminary defense of the hypothesis of extended emotions (HEE). After discussing some taxonomic considerations, I specify two ways of parsing HEE: the hypothesis of bodily extended emotions (HEBE), and the hypothesis of environmentally extended emotions (HEEE). I argue that, while both HEBE and HEEE are empirically plausible, only HEEE covers instances of genuinely extended emotions. After introducing some further distinctions, I support one form of HEEE by appealing to different streams of empirical research—particularly work on music and (...)
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  • Spontaneous Preferences and Core Tastes: Embodied Musical Personality and Dynamics of Interaction in a Pedagogical Method of Improvisation.Julien Laroche & Ilan Kaddouch - 2015 - Frontiers in Psychology 6.
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  • A Philosophical Defense of the Idea That We Can Hold Each Other in Personhood: Intercorporeal Personhood in Dementia Care. [REVIEW]Kristin Zeiler - 2014 - Medicine, Health Care and Philosophy 17 (1):131-141.
    Since John Locke, regnant conceptions of personhood in Western philosophy have focused on individual capabilities for complex forms of consciousness that involve cognition such as the capability to remember past events and one’s own past actions, to think about and identify oneself as oneself, and/or to reason. Conceptions of personhood such as Locke's qualify as cognition-oriented, and they often fail to acknowledge the role of embodiment for personhood. This article offers an alternative conception of personhood from within the tradition of (...)
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  • Enacting Musical Emotions. Sense-Making, Dynamic Systems, and the Embodied Mind.Andrea Schiavio, Dylan van der Schyff, Julian Cespedes-Guevara & Mark Reybrouck - 2017 - Phenomenology and the Cognitive Sciences 16 (5):785-809.
    The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic (...)
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  • Musical Ecologies in Video Games.Michiel Kamp - 2014 - Philosophy and Technology 27 (2):235-249.
    What makes video games unique as an audiovisual medium is not just that they are interactive, but that this interactivity is rule bound and goal oriented. This means that player experience, including experience of the music, is somehow shaped or structured by these characteristics. Because of its emphasis on action in perception, James Gibson’s ecological approach to psychology—particularly his concept of affordances—is well suited to theorise the role of music in player experience. In a game, players perceive the environment and (...)
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  • The Spur of the Moment: What Jazz Improvisation Tells Cognitive Science.Steve Torrance & Frank Schumann - forthcoming - AI and Society.
    Improvisation is ubiquitous in life. It deserves, we suggest, to occupy a more central role in cognitive science. In the current paper, we take the case of jazz improvisation as a rich model domain from which to explore the nature of improvisation and expertise more generally. We explore the activity of the jazz improviser against the theoretical backdrop of Dreyfus’s account of expertise as well as of enactivist and 4E accounts of cognition and action. We argue that enactivist and 4E (...)
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  • Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach.Mark Reybrouck - 2012 - Biosemiotics 5 (3):391-409.
    This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces some conceptual tools from the (...)
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