Switch to: References

Add citations

You must login to add citations.
  1. Not being there: An analysis of expertise‐induced amnesia.Simon Høffding & Barbara Gail Montero - 2020 - Mind and Language 35 (5):621-640.
    It has been hypothesized that postperformance memory gaps occur in highly skilled individuals because experts generally perform their skills without conscious attention. In contrast, we hypothesize that such memory gaps may occur when performers focus so intently on their unfolding actions that their ongoing attention interferes with long-term memory formation of what was previously attended to, or when performers are highly focused on aspects of their bodily skills that are not readily put into words. In neither case, we argue, does (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • Meshed Architecture of Performance as a Model of Situated Cognition.Shaun Gallagher & Somogy Varga - 2020 - Frontiers in Psychology 11.
    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, (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • The Future of Musical Emotions.Dylan van der Schyff & Andrea Schiavio - 2017 - Frontiers in Psychology 8.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • The spur of the moment: what jazz improvisation tells cognitive science.Steve Torrance & Frank Schumann - 2019 - AI and Society 34 (2):251-268.
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  • Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings.Andrea Schiavio, Dylan van der Schyff, Michele Biasutti, Nikki Moran & Richard Parncutt - 2019 - Frontiers in Psychology 10.
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • What it is like to improvise together? Investigating the phenomenology of joint action through improvised musical performance.Pierre Saint-Germier, Louise Goupil, Gaëlle Rouvier, Diemo Schwarz & Clément Canonne - forthcoming - Phenomenology and the Cognitive Sciences:1-25.
    Joint actions typically involve a sense of togetherness that has a distinctive phenomenological component. While it has been hypothesized that group size, hierarchical structure, division of labour, and expertise impact agents’ phenomenology during joint actions, the studies conducted so far have mostly involved dyads performing simple actions. We explore in this study the complex case of collectively improvised musical performances, focusing particularly on the way group size and interactional patterns modulate the phenomenology of joint action. We recorded two expert improvisation (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Exploratory expertise and the dual intentionality of music-making.Simon Høffding & Andrea Schiavio - 2021 - Phenomenology and the Cognitive Sciences 20 (5):811-829.
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  • Self-defense: Deflecting Deflationary and Eliminativist Critiques of the Sense of Ownership.Shaun Gallagher - 2017 - Frontiers in Psychology 8.
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • Acting Oneself as Another: An Actor’s Empathy for her Character.Shaun Gallagher & Julia Gallagher - 2020 - Topoi 39 (4):779-790.
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • Skilled performance in Contact Improvisation: the importance of interkinaesthetic sense of agency.Catherine Deans & Sarah Pini - 2022 - Synthese 200 (2):1-17.
    In exploring skilled performance in Contact Improvisation, we utilize an enactive ethnographic methodology combined with an interdisciplinary approach to examine the question of how skill develops in CI. We suggest this involves the development of subtleties of awareness of intra- and interkinaesthetic attunement, and a capacity for interkinaesthetic negative capability—an embodied interpersonal ‘not knowing yet’—including an ease with being off balance and waiting for the next shift or movement to arise, literally a ‘playing with’ balance, falling, nearly falling, momentum and (...)
    Download  
     
    Export citation  
     
    Bookmark