Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds (...) we inhabit. I then explore how the phenomenological attitude may serve as a starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena. To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.”. (shrink)

This paper combines perspectives from different disciplines to open up an interdisciplinary view on basic processes of human interaction. Part I addresses problematic assumptions of dominating theories of mind and limits of phenomenological description. Part II presents findings from social psychological and neuroscientific experiments on sensomotor synchronization. These experiments were carried out at levels of experiencing, behavior/kinematics, organic functions, and neurophysiology. Novel approaches that study intercerebral processes in musicians who interact face-to-face are particularly relevant: parts of non-identical brains function like (...) temporarily coupled units. Part III discusses methodological issues and presuppositions of these experimental approaches as well as of current theories of mind. The findings from social psychology and neuroscience can serve to explicate phenomenological concepts and to complement descriptions, in particular of prereflective intentionality. Vice versa, the phenomenological view helps to critically examine limits and assumptions of empirical approaches and philosophical theories of mind. The presented findings on sensomotor and intercerebral synchronization corroborate phenomenological views of direct intercorporeal intersubjectivity, which provide an alternative to accounts that rely on simulation, representation, and inferential processes. (shrink)

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 (...) interactivity between an organism and its environment. More recently, this perspective has been applied to the study of emotion in general, opening up interesting new possibilities for theory and research. This new approach, however, has received rather limited attention in musical contexts. With this in mind, we critically review the history of music and emotion studies, arguing that many existing theories offer only limited views of what musical-emotional experience entails. We then attempt to provide preliminary grounding for an alternative perspective on music and emotion based on the enactive/dynamic systems approach to the study of mind. (shrink)

This paper contributes to the interdisciplinary theory of collective affective niche construction, which extends the extended mind (ExM) thesis from cognitive to affective phenomena. Although theoretically innovative, the theory lacks a detailed psychological account of how collective affectivity is scaffolded. It has also been criticized for its uncritical assumption of the subject qua the autonomous user of the affective scaffolding as disposable resources, abstracting away from embedded subjectivity in particular techno-political arrangements. We propose that the social motivation hypothesis, an account (...) grounded in recent empirical and theoretical developments in psychology as well as in the classic theory of moral sentiments, will address the former criticism by explicating the basic mechanisms of human social orientation at work in collective affective niche construction. We also begin to address the latter normative criticism in mobilizing a so-called we-mode approach to collective emotion. To make these theoretical dialectics salient, we study social media as a case of collective affective niches, focusing on the impact on subjective well-being. Finally, we briefly identify promising future directions in building a normative theory of affective niche construction on the collective level. (shrink)

The aim of this essay is to situate the thought of Tetsurō Watsuji within contemporary approaches to social cognition. I argue for Watsuji’s current relevance, suggesting that his analysis of embodiment and social space puts him in step with some of the concerns driving ongoing treatments of social cognition in philosophy of mind and cognitive science. Yet, as I will show, Watsuji can potentially offer a fruitful contribution to this discussion by lending a phenomenologically informed critical perspective. This is because (...) Watsuji challenges the internalist and cognitivist presuppositions informing the currently dominant “Theory of Mind” paradigm that is driving much social cognition research. Additionally, I show that Watsuji’s alternative model is not merely confined to the realm of phenomenological description but that it also receives robust empirical support from a number of different sources. I thus hope to open up aspects of Watsuji’s thinking that have yet to be fully appreciated. (shrink)

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 (...) emotion regulation. However, I register skepticism about a second and more radical form of HEEE. (shrink)

A family of recent externalist approaches in philosophy of mind argues that our psychological capacities are synchronically and diachronically “scaffolded” by external resources. I consider how these “scaffolded” approaches might inform debates in phenomenological psychopathology. I first introduce the idea of “affective scaffolding” and make some taxonomic distinctions. Next, I use schizophrenia as a case study to argue—along with others in phenomenological psychopathology—that schizophrenia is fundamentally a self-disturbance. However, I offer a subtle reconfiguration of these approaches. I argue that schizophrenia (...) is not simply a disruption of ipseity or minimal self-consciousness but rather a disruption of the scaffolded self, established and regulated via its ongoing engagement with the world and others. I conclude by considering how this scaffolded framework indicates the need to consider new forms of intervention and treatment. (shrink)

Until recently, philosophers and psychologists conceived of emotions as brain- and body-bound affairs. But researchers have started to challenge this internalist and individualist orthodoxy. A rapidly growing body of work suggests that some emotions incorporate external resources and thus extend beyond the neurophysiological confines of organisms; some even argue that emotions can be socially extended and shared by multiple agents. Call this the extended emotions thesis. In this article, we consider different ways of understanding ExE in philosophy, psychology, and the (...) cognitive sciences. First, we outline the background of the debate and discuss different argumentative strategies for ExE. In particular, we distinguish ExE from cognate but more moderate claims about the embodied and situated nature of cognition and emotion. We then dwell upon two dimensions of ExE: emotions extended by material culture and by the social factors. We conclude by defending ExE against some objections and point to desiderata for future research. (shrink)

I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...) character. I argue that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea. (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)

In this paper I shall attempt to give an enactive account of the dynamic qualities of music. Starting from Krueger’s account of musical experience, I will highlight how music’s qualities of movement are constituted in the horizon of an embodied consciousness – that is, an embodied subject who can virtually or actually bodily entrain with music and then follow the musical profile. I will argue that the common rythmòs-structure of both music and movement makes such an enactive constitution possible. In (...) this sense, the perception of music’s rythmòs – that is, the perception of its teleological tendency – will turn out to be the condition of possibility for the enaction of music dynamic qualities. But if so, music’s quality of being teleologically-structured will remain unexplained by the discussed enactive account and will need another description of how it is constituted in the horizon of consciousness. (shrink)

I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.