I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...) our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience. (shrink)

An attempt is made to defend a general approach to the spatial content of perception, an approach according to which perception is imbued with spatial content in virtue of certain kinds of connections between perceiving organism's sensory input and its behavioral output. The most important aspect of the defense involves clearly distinguishing two kinds of perceptuo-behavioral skills—the formation of dispositions, and a capacity for emulation. The former, the formation of dispositions, is argued to by the central pivot of spatial content. (...) I provide a neural information processing interpretation of what these dispositions amount to, and describe how dispositions, so understood, are an obvious implementation of Gareth Evans' proposal on the topic. Furthermore, I describe what sorts of contribution are made by emulation mechanisms, and I also describe exactly how the emulation framework differs from similar but distinct notions with which it is often unhelpfully confused, such as sensorimotor contingencies and forward models. (shrink)

Mental Imagery, whereby we experience aspect of a perceptual scene or perceptual object in the absence of direct sensory stimulation is ubiquitous. Often the existence of mental imagery is demonstrated by asking one’s reader to volitionally generate a visual object, such as closing ones eyes and imagining an apple. However, mental imagery also arises in auditory, tactile, interoceptive, and olfactory cases. A number of influential philosophical theories have attempted to explain mental imagery in terms of belief-based forms of representation using (...) the Dependence Thesis, dependence upon means of access, such as enactivism, or in terms of the similarity of content with perceptual processing. The focus of this paper concerns the later approach and in particular assessing if Nanay’s promissory note that his theory is applicable to modalities other than vision, such as smell, seems likely to be of theoretical tender. The thesis argued for in this paper is that olfactory imagery exists and is best accounted for by considering it as a type of perceptual processing with a unique representational format relative to the olfactory perceptual modality. The paper concludes by summarizing the applicability of Nanay’s theory of mental imagery for olfaction and suggests some further issues that arise when transitioning to multi-modal mental imagery. (shrink)

The article presents a perspective on the scientific explanation of the subjectivity of conscious experience. It proposes plausible answers for two empirically valid questions: the ‘how’ question concerning the developmental mechanisms of subjectivity, and the ‘why’ question concerning its function. Biological individuation, which is acquired in several different stages, serves as a provisional description of how subjective perspectives may have evolved. To the extent that an individuated informational space seems the most efficient way for a given organism to select biologically (...) valuable information, subjectivity is deemed to constitute an adaptive response to informational overflow. One of the possible consequences of this view is that subjectivity might be (at least functionally) dissociated from consciousness, insofar as the former primarily facilitates selection, the latter action. (shrink)

Enactivists often defend the following two claims: Successful interactions are not driven and explained by the interactors’ ability to mindread. And the mechanisms enabling 2nd personal social cognition and those enabling 3rd personal social cognition are distinct. In this paper, I argue that both of these claims are false. With regard to I argue that enactivists fail to provide a plausible alternative to traditional accounts of social cognition in interaction. I examine and reject Hanne De Jaegher’s view according to which (...) interaction is “constitutive” for social interaction. Furthermore, I critically discuss Shaun Gallagher’s and Daniel Hutto’s views according to which social interactions are exclusively driven by low level cognitive mechanisms such as “gaze following” and “emotion detection”. Concerning, I rely on data from so called “spontaneous response” false belief tasks to show that interactive and observational paradigms require the same “social-cognitive” interpretation. (shrink)

We experience the world as perceivers armed with many different sense modalities. These modalities include sight, sound, touch, smell, and taste, each giving an array of sensations and feelings to our phenomenology. How these sensations and feelings come to be is the central concern of the so-called “hard problem” of qualitative experience.

Subjectivity is essential to consciousness. But though subjectivity is necessary for consciousness it is not sufficient. In part one I derive a distinction between conscious awareness and unconscious subjectivity from a critique of Block’s (1995) distinction between access and phenomenal consciousness. In part two I contrast two historically influential models of unconscious thought: cognitive and psychoanalytic. The widely held cognitive model does not cover, as it should, the class of "for me" mental states that remain unconscious. In particular, personalist approaches (...) to emotion require a theory of unconscious subjectivity to handle the case of unconscious emotion. (shrink)

The article introduces the phenomenological idea of 'natural attitude' in the field of dance. Three phenomena, which very clearly show the embodiment of the natural attitude and its resistance to the requirements of dance, are analyzed. The 'controlling gaze' is the natural tendency to look at the limbs andfollow their movements instead of proprioceptive control The 'chess play' is a natural tendency of moving on the flat surface and ignoring the volume of movement. The 'seduction' is a natural tendency to (...) lose the body-self because of an interference with the others body. The dancing body has constantly to deal with these natural inclinations. And a dance teacher has to understand this split between 'ought' and 'is'. (shrink)