What does it mean for an actor to empathize with the character she is playing? We review different theories of empathy and of acting. We then consider the notion of “twofoldness”, which has been used to characterize the observer or audience perspective on the relation between actor and character. This same kind of twofoldness or double attunement applies from the perspective of the actor herself who must, at certain points of preparation, distinguish between the character portrayed and her own portrayal (...) effected in her craft. We argue that this concept helps us to understand how the actor can empathize with her character. For the actor who must study and rehearse her character, empathy may begin with higher-order processes that provide a contextualized understanding of the character. This understanding eventually integrates with more basic empathic processes in her actual performance. (shrink)

It is not rare in philosophy and psychology to see theorists fall into dichotomous thinking about mental phenomena. On one side of the dichotomy there are processes that I will label “unintelligent.” These processes are thought to be unconscious, implicit, automatic, unintentional, involuntary, procedural, and non-cognitive. On the other side, there are “intelligent” processes that are conscious, explicit, controlled, intentional, voluntary, declarative, and cognitive. Often, if a process or behavior is characterized by one of the features from either of the (...) above lists, the process or behavior is classified as falling under the category to which the feature belongs. For example, if a process is implicit this is usually considered sufficient for classifying it as “unintelligent” and for assuming that the remaining features that fall under the “unintelligent” grouping will apply to it as well. Accordingly, if a process or behavior is automatic, philosophers often consider it to be unintelligent. It is my goal in this paper to challenge the conceptual slip from “automatic” to “unintelligent”. I will argue that there are a whole range of properties highlighted by the existing psychological literature that make automaticity a much more complex phenomenon than is usually appreciated. I will then go on to discuss two further important relationships between automatic processes and controlled processes that arise when we think about automatic processes in the context of skilled behavior. These interactions should add to our resistance to classifying automaticity as unintelligent or mindless. In Sect. 1, I present a few representative cases of philosophers classifying automatic processes and behaviors as mindless or unintelligent. In Sect. 2, I review trends in the psychology of automaticity in order highlight a complex set of features that are characteristic, though not definitive, of automatic processes and behaviors. In Sect. 3, I argue that at least some automatic processes are likely cognitively penetrable. In Sect. 4, I argue that the structure of skilled automatic processes is shaped diachronically by practice, training and learning. Taken together, these considerations should dislodge the temptation to equate “automatic” with “unintelligent”. (shrink)

What forms of consciousness can the subject have of her body in action? This is a recurrent issue in contemporary research on skilled movement and expertise, and according to a widespread view, the body makes itself inconspicuous in performance in favour of the object or goal that the activity is directed to. However, this attitude to consciousness in bodily performance seems unsatisfying for an understanding of skilled action, and the work of several researchers can be seen as responding to this (...) view: Montero, Legrand, Ravn and others in the philosophy of expertise and of dance have developed various notions of consciousness and cognition to account for the mindful processes at play in performance. Two related questions can be distinguished here: 1. Is there an inherent conflict between skilled action and at least more than marginal awareness of that action, or is it possible – and even desirable – to reflect on our own performance without considerably impeding on it? 2. What forms of consciousness pertaining to the body in action must we distinguish in order to answer the first question? This paper gives an overview of this discussion, focusing on the second issue, although the first will come into play in so far as it is linked with the latter question. Drawing on Merleau-Ponty’s analyses of bodily reflection and on dancers’ descriptions, I show that there is, in phenomenological terms, a bodily level of reflection: a fully conscious and exploratory activity that is led by the skilled body, and that is explicitly aimed at by many performers. (shrink)

What forms of consciousness can the subject have of her body in action? This is a recurrent issue in contemporary research on skilled movement and expertise, and according to a widespread view, the body makes itself inconspicuous in performance in favour of the object or goal that the activity is directed to. However, this attitude to consciousness in bodily performance seems unsatisfying for an understanding of skilled action, and the work of several researchers can be seen as responding to this (...) view: Montero, Legrand, Ravn and others in the philosophy of expertise and of dance have developed various notions of consciousness and cognition to account for the mindful processes at play in performance.Two related questions can be distinguished here: (1) Is there an inherent conflict between skilled action and at least more than marginal awareness of that action, or is it possible – and even desirable – to reflect on our own performance without considerably impeding on it? (2) What forms of consciousness pertaining to the body in action must we distinguish in order to answer the first question?This paper gives an overview of this discussion, focusing on the second issue, although the first will come into play in so far as it is linked with the latter question. Drawing on Merleau-Ponty’s analyses of bodily reflection and on dancers’ descriptions, I show that there is, in phenomenological terms, a bodily level of reflection: a fully conscious and exploratory activity that is led by the skilled body, and that is explicitly aimed at by many performers. (shrink)

Following Gilbert Ryle’s arguments, many philosophers took it for granted that someone knows how to do something just in case they have the ability to do it. Within the last couple decades, new intellectualists have challenged this longstanding anti-intellectualist assumption. Their central contention is that mere abilities aren’t on the same rational, epistemic level as know how. My goal is to intellectualize know how without over-intellectualizing it. Intelligent behavior is characteristically flexible or responsive to novelty, and the distinctive feature of (...) creatures who exhibit flexible behavior is their capacity to learn. As it turns out, Ryle already identified a core characteristic of learning shared widely across the animal kingdom from the lowly rat to the top athlete. Taking my cues from Ryle, I argue that know how is successful performance resulting from self-regulated abilities. To regulate an ability is to be disposed to adjust to error and respond to feedback. While regulating sophisticated human abilities often requires propositional knowledge, in many simpler cases it does not. I focus on the navigational know how of rats and honeybees. Although they possess know how, whether they possess propositional knowledge is at best an open question. (shrink)

Following Gilbert Ryle’s arguments, many philosophers took it for granted that someone knows how to do something just in case they have the ability to do it. Within the last couple decades, new intellectualists have challenged this longstanding anti-intellectualist assumption. Their central contention is that mere abilities aren’t on the same rational, epistemic level as know how. My goal is to intellectualize know how without over-intellectualizing it. Intelligent behavior is characteristically flexible or responsive to novelty, and the distinctive feature of (...) creatures who exhibit flexible behavior is their capacity to learn. As it turns out, Ryle already identified a core characteristic of learning shared widely across the animal kingdom from the lowly rat to the top athlete. Taking my cues from Ryle, I argue that know how is successful performance resulting from self-regulated abilities. To regulate an ability is to be disposed to adjust to error and respond to feedback. While regulating sophisticated human abilities often requires propositional knowledge, in many simpler cases it does not. I focus on the navigational know how of rats and honeybees. Although they possess know how, whether they possess propositional knowledge is at best an open question. (shrink)

The objective of this paper is to articulate a distinction between habit and bodily skill as different ways of acting without deliberation. I start by elaborating on a distinction between habit and skill as different kinds of dispositions. Then I argue that this distinction has direct implications for the varieties of automaticity exhibited in habitual and skilful bodily acts. The argument suggests that paying close attention to the metaphysics of agency can help to articulate more precisely questions regarding the varieties (...) of automaticity exhibited in overt action. (shrink)

Bill Pollard has recently developed an account of habits of action, endeavoring to rehabilitate the traditional notion of habit in a way that can be used to address current philosophical concerns. I argue that Pollard’s account has important shortcomings. The account is intended to apply indiscriminately to both habitual and skilled acts, but this overlooks crucial distinctions. Moreover, Pollard’s account fails to do justice to the various ways in which the idea of habit figures in the explanation and assessment of (...) action. These shortcomings are a consequence of certain assumptions Pollard shares with the accounts of mind and action he sets to criticize. As long as these assumptions are left intact, the potential of dispositional notions such as habit and skill to contribute to contemporary debates will not be realized. (shrink)

On the phenomenological view, a minimal form of self-consciousness is a constant structural feature of conscious experience. Experience happens for the experiencing subject in an immediate way and as part of this immediacy, it is implicitly marked as my experience. For the phenomenologists, this immediate and first-personal givenness of experiential phenomena must be accounted for in terms of a pre-reflective self-consciousness. In the most basic sense of the term, selfconsciousness is not something that comes about the moment one attentively inspects (...) or reflectively introspects one's experiences, or in the instant of self-recognition of one's image in the mirror, or in the proper use of the first-person pronoun, or in the construction of a self-narrative. Rather, these different kinds of self-consciousness are to be distinguished from the pre-reflective self-consciousness which is present whenever I am living through or undergoing an experience, i.e., whenever I am consciously perceiving the world, whenever I am thinking an occurrent thought, whenever I am feeling sad or happy, thirsty or in pain, and so forth. (shrink)

Much work on the sense of agency has focused either on abnormal cases, such as delusions of control, or on simple action tasks in the laboratory. Few studies address the nature of the sense of agency in complex natural settings, or the effect of skill on the sense of agency. Working from 2 case studies of mountain bike riding, we argue that the sense of agency in high-skill individuals incorporates awareness of multiple causal influences on action outcomes. This allows fine-grained (...) differentiation of the contributions of self and external factors to action outcomes. We further argue that the sense of agency incorporates prospective awareness of actions that are possible in a situation and awareness of the limits of control. These forms of sense of agency enable highly flexible, context-sensitive strategic control, and are likely to contribute to high interindividual variability in responses to complex tasks. (shrink)

This thesis is about meaning, expression and language in Merleau-Ponty’s philosophy, and their role in the phenomenological project as a whole. For Merleau-Ponty, expression is the taking up of a meaning given either in perception or in already acquired forms of expression, thereby repeating, transforming or congealing meaning into gestures, utterances, artworks, ideas or theories. Contrary to the predominant view in the literature, the relation of expression to meaning, and in particular the problem of expressing new meanings, was of fundamental (...) importance to Merleau-Ponty from the very beginning, in that it was intrinsically related to the overcoming of what he termed “objective thought”. Admittedly, there is an evolution of his philosophy in this respect: from the early stance where the recasting of certain basic categories is taken as pivotal for the development of a new form of thinking, with arguments drawn also from various empirical and social sciences, to what appears to be an effort at an all-pervading reformulation of philosophical language during his last years. But the remoulding of categories was never for Merleau-Ponty a matter simply of finding a few, better adapted concepts, but from the outset an endeavour to think philosophical arguments through to a point where they reveal their inherent inconsistencies. Recasting philosophical expression is thus a risky enterprise, and this is a point I explore further in Essay 1, that focuses especially upon creative expression in painting and to some extent in literature. In Essay 2 I discuss the notion of Gestalt and how it serves this general project, whereas Essay 3 deals with verbal language, on the basis of Merleau-Ponty’s reading of Saussure’s linguistics. Essay 4 examines bodily expression from the point of view of feminist phenomenology and in particular Judith Butler’s early reading of Merleau-Ponty, and finally Essay 5 discusses expression in the art of dance. (shrink)

Extended cognition brings with it a particular phenomenology. It has been argued that when an artifact is integrated into an agent’s cognitive system, it becomes transparent in use to the cognizing subject. In this paper, I challenge some of the assumptions underlying how the transparency of artifacts is described in extended cognition theory. To this end, I offer two arguments. First, I make room for some forms of conscious thought and attention within extended cognitive routines, and I question the close (...) association drawn between attention and effort. Second, I vindicate the importance of paying careful attention to individual differences and the diverse ways in which bodies and technologies can be experienced. I end by offering some hints toward an alternative, and more accurate, account of the phenomenology of extended cognition. (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)