Philosophical work exploring the relation between cognition and the Internet is now an active area of research. Some adopt an externalist framework, arguing that the Internet should be seen as environmental scaffolding that drives and shapes cognition. However, despite growing interest in this topic, little attention has been paid to how the Internet influences our affective life — our moods, emotions, and our ability to regulate these and other feeling states. We argue that the Internet scaffolds not only cognition but (...) also affect. Using various case studies, we consider some ways that we are increasingly dependent on our Internet-enabled “techno-social niches” to regulate the contours of our own affective life and participate in the affective lives of others. We argue further that, unlike many of the other environmental resources we use to regulate affect, the Internet has distinct properties that introduce new dimensions of complexity to these regulative processes. First, it is radically social in a way many of these other resources are not. Second, it is a radically distributed and decentralized resource; no one individual or agent is responsible for the Internet’s content or its affective impact on users. Accordingly, while the Internet can profoundly augment and enrich our affective life and deepen our connection with others, there is also a distinctive kind of affective precarity built into our online endeavors as well. (shrink)

Self-disorders in depression and schizophrenia have been the focus of much recent work in phenomenological psychopathology. But little has been said about the role the material environment plays in shaping the affective character of these disorders. In this paper, we argue that enjoying reliable (i.e., trustworthy) access to the things and spaces around us — the constituents of our material environment — is crucial for our ability to stabilize and regulate our affective life on a day-today basis. These things and (...) spaces often play an ineliminable role in shaping what we feel and how we feel it; when we interact with them, they contribute ongoing feedback that " scaffolds " the character and temporal development of our affective experiences. However, in some psychopathological conditions, the ability to access to these things and spaces becomes disturbed. Individuals not only lose certain forms of access to the practical significance of the built environment but also to its ​ regulative​ significance, too — and the stability and organization of their affective life is compromised. In developing this view, we discuss core concepts like " affordance spaces " , " scaffolding " , and " incorporation ". We apply these concepts to two case studies, severe depression and schizophrenia, and we show why these cases support our main claim. We conclude by briefly considering implications of this view for developing intervention and treatment strategies. (shrink)

In this paper I would like to propose the notion of “affective artifact”, building on an analogy with theories of cognitive artifacts and referring to the development of a situated affective science. Affective artifacts are tentatively defined as objects that have the capacity to alter the affective condition of an agent, and that in some cases play an important role in defining that agent’s self. The notion of affective artifacts will be presented by means of examples supported by empirical findings, (...) by discussing a tentative definition and classification, and by considering several related but differing notions. Within the framework of situated affectivity, the notion of affective artifacts will represent a further step in the enterprise of understanding how the environment helps us scaffold our affective processes. I will conclude that affective artifacts play a key role in the philosophy of cognitive science, the philosophy of technology and in the debate about the self. (shrink)

We argue that the notion of "mental institutions"-discussed in recent debates about extended cognition-can help better understand the origin and character of social impairments in autism, and also help illuminate the extent to which some mechanisms of autistic dysfunction extend across both internal and external factors (i.e., they do not just reside within an individual's head). After providing some conceptual background, we discuss the connection between mental institutions and embodied habits of mind. We then discuss the significance of our view (...) for understanding autistic habits of mind and consider why these embodied habits are sometimes a poor fit with neurotypical mental institutions. We conclude by considering how these insights highlight the two-way, extended nature of social impairments in autism, and how this extended picture might assist in constructing more inclusive mental institutions and intervention strategies. (shrink)

In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important windows (...) into our mental functioning. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic encounters as well as a wide range of psychological phenomena of general interest. Here, we present this developing research programme, describing its grounds and highlighting its prospects. We start by clarifying how the study of the arts and aesthetics encounters the PP picture of mental functioning (§1). We then go on to outline the prospects of this encounter for the fields involved: philosophy and history of art (§2), psychology of aesthetics and neuroaesthetics (§3) and psychology and neuroscience more generally (§4). The upshot is an ambitious but well-defined framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind. -/- This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’. -/- . (shrink)

In this paper I argue that social networking sites (SNSs) are emotion technologies that promote a highly charged emotional environment where intrinsic emotion regulation is significantly weakened, and people's emotions are more strongly modulated by other people and by the technology itself. I show that these features of social media promote a simplistic emotional outlook which is an obstacle to the development and maintenance of virtue. In addition, I focus on the mechanisms that promote group-based anger and thus give rise (...) to affective polarisation. In the final section, after a discussion of the positive value of some forms of anger, I argue that SNSs should not be designed to prohibit or suppress anger, but that its encouragement should also be avoided. I conclude with a suggestion about how this might be achieved. (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)

We humans continuously reshape the environment to alter, enhance, and sustain our affective lives. This two-way modification has been discussed in recent philosophy of mind as affective scaffolding, wherein scaffolding quite literally means that our affective states are enabled and supported by environmental resources such as material objects, other people, and physical spaces. In this article, I will argue that under certain conditions paintings function as noteworthy affective scaffolds to their creators. To expound this idea, I will begin with a (...) theoretical overview of affective niche construction and affective scaffolding. Then, based on the criteria of robustness, concreteness, and dependability, I will specify a solid type of affective scaffolding and propound paintings as a cogent case of such. In support of my argument, I will highlight two feelings typical to painterly creativity: the feeling of aesthetic resonance and the feeling of fusion. To conclude, I will discuss the overall contributions and limitations of my account. (shrink)

This paper investigates the phenomenological status of musical affordances through a Gadamerian focus on human communication. With an extra emphasis on Reybrouck’s much-cited affordance-driven theory, I locate fundamental premises in the affordance concept. By initiating a dialogue with Gadamer’s perspective, I suggest a slight yet important shift of perspective that allows us to see an autonomous, transformative, and intrinsically active ‘ideality’ potentially emerging in music. In the final section, I try to demonstrate how Gadamer’s perspective is supported by recent empirical (...) studies on communicative musicality and child development, and allows us to see how protoversions of the transformative ‘ideality’ are already present at the beginning of human life. (shrink)

In this paper we suggest an understanding of the self within the conceptual framework of situated affectivity, proposing the notion of an affectively extended self and arguing that the construction, diachronic re-shaping and maintenance of the self is mediated first by affective interactions. We initially consider the different variations on the conception of the extended self that have been already proposed in the literature. We then propose our alternative, contextualising it within the current debate on situated affectivity. While the idea (...) that we exploit the external environment in order to manage our affective life is now rather widespread among philosophers, its potential consequences for and connections with the debate on the self remain underexplored. Drawing on James’ intuition of the “material self”, which clearly connects the self and the emotions in agency, and broadly envisioning an extension of the self beyond its organismic boundaries, we propose our pragmatist conception of the self: an affectively extended self that relies on affective artifacts and practices to construct its identity extended beyond skin and skull. (shrink)

Sense of agency refers to the ability to influence one’s functioning and environment, relating to self-efficacy and wellbeing. In youth, agency may be challenged by external demands or redefinition of self-image. Music, having heightened relevance for the young, has been argued to provide feelings of self-agency for them. Yet, there is little empirical research on how music impacts adolescents’ daily sense of agency. The current study investigated whether music listening influences adolescents’ perceived agency in everyday life and which individual and (...) contextual determinants would explain such an influence. Participants were 44 adolescents (48% female, 36% with training in music, mean age 14), recruited through local schools. The mobile Experience Sampling app MuPsych was used to collect brief self-reports of personal music listening experiences during daily life. This method assessed the change in the listener’s perceived control over both their emotional states (Internal Agency), and their external environment (External Agency), over five minutes of music listening. Also measured were changes in mood states, and contextual variables (social situation, concurrent activity, and reason for listening). The impact of music on the sense of agency was analyzed using multilevel structural equation modelling. There was no general increase of agency across all music episodes, but agency fluctuations were determined by specific individual and contextual factors. Music training predicted increases in both internal and external agency during music listening, and external agency increased more for male participants. Certain context features such as listening alone, paying attention to music, and listening for enjoyment were related to greater increases in agency. Increases in agency significantly correlated with increases in mood valence. Our findings confirmed the plasticity and situational embeddedness of the sense of agency. Music indeed can support agency, but the impact is dependent on specific individual and contextual factors. Sense of agency can be seen as a health resource and significant part of youth development, and current findings provide new insight into when and by whom such affordance is likely to be employed. (shrink)

It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely (...) solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use existing artworks, memory aids, and music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. (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)

Why is listening to sad music pleasurable? Eerola et al. convincingly argue that we should adopt an integrative framework — encompassing biological, psycho-social, and cultural levels of explanation — to answer this question. I agree. The authors have done a great service in providing the outline of such an integrative account. But in their otherwise rich discussion of the psycho-social level of engagements with sad music, they say little about the phenomenology of such experiences — including features that may help (...) shed further light on this question. I suggest that emerging enactive perspectives on music and emotion can offer some useful resources. (shrink)

By thinking on my personal (som)aesthetic experience as a would-be jazz saxophonist, I will argue that the relationship between musician and instrument can exemplify the “extended self” thesis in the artistic/aesthetic realm. As can happen with a human partner, a special affective relationship may arise between human being and instrument and, through repeated practice, the instrument can become an indispensable element of the aesthetic habits by virtue of which we interact with the environment, thus becoming part of the (extended) self. (...) As I will suggest, this special bodily and affective relationship is due to the affordances offered by the instrumental partner and to the expressive experiences that this encounter makes possible. This affective relationship is one of the reasons behind the regret we feel for the destruction or loss of artifacts. Thanks to the assiduity of a somaesthetic relationship, it happens that these objects become extensions not only of the body but also of the mind or “soul”. (shrink)

By thinking on my personal (som)aesthetic experience as a would-be jazz saxophonist, I will argue that the relationship between musician and instrument can exemplify the “extended self” thesis in the artistic/aesthetic realm. As can happen with a human partner, a special affective relationship may arise between human being and instrument and, through repeated practice, the instrument can become an indispensable element of the aesthetic habits by virtue of which we interact with the environment, thus becoming part of the (extended) self. (...) As I will suggest, this special bodily and affective relationship is due to the affordances offered by the instrumental partner and to the expressive experiences that this encounter makes possible. This affective relationship is one of the reasons behind the regret we feel for the destruction or loss of artifacts. Thanks to the assiduity of a somaesthetic relationship, it happens that these objects become extensions not only of the body but also of the mind or “soul.”. (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)