This article develops the concept of experiential careers, drawing theoretical attention to the routinization and de-routinization of specific experiences as they unfold over social career trajectories. Based on interviews and ethnographic fieldwork in two religious communities, we compare the social-temporal patterning of religious experience among newly religious Orthodox Jews and converted Muslims in two cities in the United States. In both cases, we find that as newly religious people work to transform their previous bodily habits and take on newly prescribed (...) religious acts, the beginning of their religious careers becomes marked by what practitioners describe as potent religious experiences in situations of religious practice. However, over time, these once novel practices become routinized and religious experiences in these situations diminish, thus provoking actors and institutions in both fields to work to re-enchant religious life. Through this ethnographic comparison, we demonstrate the utility of focusing on experiential careers as a sociological unit of analysis. Doing so allows sociologists to use a non-reductive phenomenological approach to chart the shifting manifestations of experiences people deeply care about, along with the patterned enchantments, disenchantments, and possible re-enchantments these social careers entail. As such, this approach contributes to the analysis of social careers and experiences of “becoming” across both religious and non-religious domains. (shrink)

As part of a series of Ethnomethodological Studies of Work, this paper focusses upon a short stretch of a final concert performance of the Saint-Saens Septet by a set of amateur musicians in which timing errors occur but in response to which various manoeuvres successfully restore synchrony. I set out to demonstrate that these afford a strategic access for ethnomethodologists to sets of musicians' practices whereby musical synchrony is ongoingly accomplished. The central curiosity of this study is the set of (...) distinctive practices whereby a musical text set out in a spatial, linear sequence of markings is realized in a collective performance that unfolds not only in precise time values but also in synchrony.This paper analyzes three errors in a short passage and the ways in which they are corrected either by the errant musician himself or by the other musician in response. In these cases, the restoration of synchrony and the routine performance of the piece thereafter are accomplished successfully in the sense that those listening to the tape of it generally fail to notice any problem! This contrasts to my detection of problems during both my participation in the performance and repeated listening of the resulting audio-tape, I argue that it is this systematic difference in possible hearings that musicians are oriented to when attempting to fake it. Thus, the essential interest is in members' methods for maintaining as well as restoring synchrony. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of (...) inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

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)

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 (...) accounts provide a rich source of insights on improvisation that go beyond Dreyfus’s notion of skilled coping, for example, through the central enactivist notion of “sense-making”. At the same time, however, we see improvisation also as suggesting an extension of enactivist theory. We see expert improvisers, in music and in life, as walking on a path of open-ended expansion of their mindful experiential relation with their doing. At the heart of an improviser’s expertise, we propose, lies a form of “higher-level inner sense-making” that spontaneously creates novel forms of agentive goal-directedness in the moment. Our account thus supplants Dreyfus’s idea of the ego-less absorbed expert by that of a mindful improviser enacting spontaneous expressions of herself, in music or in life. (shrink)

This paper examines some textual devices that writers may use to pre-structure the activities of their readers. HyperText Markup Language (HTML) is used as an 'explicating device' to explore how writers can provide reading instructions, and how these can be experienced by readers. Structuring devices like paragraphs and sections, and hypertextual elements like notes and references are investigated in detail. In this way, the paper aspires to contribute to 'an ethnomethodology of textual practices'.

This article applies Susan Blackmore's model of brain self-modeling to explain how people experience altered states of consciousness in meditative religions. Against the experience vs. over-belief model put forth by William James and Wayne Proudfoot, Blackmore's model provides a theoretical base for a social role in the formation of meditative experience itself, not just in its interpretation. Learning to meditate involves learning to attend to certain bodily and feeling states, which involves learning to construct a brain model that produces a (...) different experience of the self. This is not just a matter of socially learned labeling, but of learning to generate authentic psycho-physical experience. Examples are drawn from the author's study of Quakers and practitioners of the Gurdjieff Work. (shrink)

Embodied approaches to cognition conceive of mental life as emerging from the ongoing relationship between neural and extra-neural resources. The latter include, first and foremost, our entire body, but also the activity patterns enacted within a contingent milieu, cultural norms, social factors, and the features of the environment that can be used to enhance our cognitive capacities (e.g., tools, devices, etc.). Recent work in music education and sport psychology has applied general principles of embodiment to a number of social contexts (...) relevant to their respective fields. In particular, both disciplines have contributed fascinating perspectives to our understanding of how skills are acquired and developed in groups; how musicians, athletes, teachers, and coaches experience their interactions; and how empathy and social action participate in shaping effective performance. In this paper, we aim to provide additional grounding for this research by comparing and further developing original themes emerging from this cross-disciplinary literature and empirical works on how performative skills are acquired and optimized. In doing so, our discussion will focus on: (1) the feeling of being together, as meaningfully enacted in collective musical and sport events; (2) the capacity to skillfully adapt to the contextual demands arising from the social environment; and (3) the development of distributed forms of bodily memory. These categories will be discussed from the perspective of embodied cognitive science and with regard to their relevance for music education and sport psychology. It is argued that because they play a key role in the acquisition and development of relevant skills, they can offer important tools to help teachers and coaches develop novel strategies to enhance learning and foster new conceptual and practical research in the domains of music and sport. (shrink)

This paper takes up the current discussion and disagreement among ethnomethodologists and conversation analysts concerning how conversation analysis should address questions of social structure. It also discusses the question of whether conversation analysis can address questions concerning the organisation of work as developed in the studies of work program of ethnomethodologists. Five different types of ethnomethodological and conversation analytic studies are delineated in order to show that, altough they differ in problem selection and formulation, methodological preference and foci, they are (...) not incompatible but complementary. (shrink)

In the late 1980s, I wrote up some notes on the play of pick-up basketball and sent them to Harold Garfinkel, who incorporated them into an un-published monograph in 1988. They were motivated by an interest in exhibiting the sense of "detail" for ethnomethodological studies. An edited version is presented below. They follow a front piece of recollection and discussion about Garfinkel's distinctive interests in matters of "detail," their tie to structure and structure's circumstantiality, and their place in EM studies.

This essay is about Houdini’s escapes and ethnomethodology’s studies.1 By accomplishing what appears to be impossible, Houdini leaves his audience considering not only how did he manage to do that, but also just what is it that we consider to be possible. Magicians and escapologists warn us off an interest in the mechanics of their tricks that might spoil the thrill of what they dramatically present to us: a sense of the limits to whatwe can apprehend as an audience. While (...) marking out the differences in their projects, this essay brings out the sharedurge of escapologists and ethnomethodologists to question our senses, openmembers to particular phenomena, and awaken us tothe wonder of the world.In reflecting on what happens when magicians reveal the devices that constitute their tricks, I ask whether the purpose of studying methodologies canonlyreside in revealing how they are practically produced as intelligibleactions. What more might ethnomethodology’s invitation be? (shrink)

This paper applies an approach that the author calls Subjective Personal Introspection to the self-reflective examination, inward-looking understanding, and impressionistic evocation of his own consumption experiences as the keeper of a kitten named Rocky Raccoon. Three-dimensional photographs in the form of stereo pairs provide corroborative evidence for the interpretations suggested. In this reflexive, anecdotal, narrative account, Rocky the Cat emerges as a focal point in the author's experiential consumption.

Phenomenology holds much potential to make meaningful contributions to research on sport. In this paper, I argue that concepts such as equipment, habit and readiness-at-hand will help to uncover heretofore unexamined strands of athletic embodiment. Through an examination of the work of Edmund Husserl, Martin Heidegger, Maurice Merleau-Ponty and Hubert Dreyfus I take some initial steps towards outlining not only the promises of phenomenology for the study of sport, but also what such an undertaking might entail. In conclusion I highlight (...) the consequences for sport research that flow from phenomenology and offer suggestions for how sport scholarship might benefit from its incisive manner of discerning skilled coping. (shrink)

Engineering sketches and drawings are the building blocks of technological design and production. These visual representations act as the means for organizing the design to production process, hence serving as a "social glue" both between individuals and between groups. The author discusses two main capacities such visual representations serve in facilitating distributed cognition in team design work As conscription devices, they enlist and organize group participation. As boundary objects, they facilitate the reading of alternative meanings by various groups involved in (...) the design process. The introduction of computer-aided design into this visual culture of engineering restructures relationships between workers in ways that can hamper the flexibility necessary for these crucial capacities to take place. The data are drawn from a study of the daily practices of engineers engaged in redesigning a turbine engine package. The method is participant observation. (shrink)

In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...) to go about the practical task of actually increasing our level of wellbeing, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of wellbeing. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I’m of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of wellbeing. (shrink)

This article proposes a rethinking of Bourdieu’s habitus as context-specific, multiple, and decentralized based on nine months of participant-observation fieldwork with dumpster divers in New York City. Dumpster divers are mostly white, college-educated people in their twenties and thirties who eat food from retail trash as a lifestyle choice. Sociologists have recently theorized culture as a fragmented, incoherent “toolkit” of cultured capacities acquired throughout the lifetime. Bourdieu on the contrary, theorized socialized culture as habitus, a relatively durable, classed structure acquired (...) during childhood. While he recognized the possibility of acquiring “specific” habitus (Bourdieu 2000) later in life, he never developed the theoretical implications of socialization across multiple contexts. Building on ethnographic evidence of dumpster divers’ contradictory pursuit of food taste through the distasteful behavior of eating from the trash, I develop an alternative model of habitus as interlinked bundles of dispositions acquired in specific contexts. To theorize the bundled quality of habitus, I introduce what I call the practical congruity of dispositions. I show how rather than being disparate elements of a cultural repertoire, ways of seeing, common sense, dexterity, and orientations “make sense” in conjunction as actors mobilize them in specific contexts: dumpster diving acquires a commonsensical character based on the practical sense practitioners acquire. My understanding of habitus goes beyond the fragmentation assumed in notions of culture as a repertoire of cultured capacities, on the one hand, and the continuity and coherence premised in notions of primary and secondary habitus, on the other hand. (shrink)

How do we feel our body in emotion experience? In this paper I initially distinguish between foreground and background bodily feelings, and characterize them in some detail. Then I compare this distinction with the one between reflective and pre-reflective bodily self-awareness one finds in some recent philosophical phenomenological works, and conclude that both foreground and background bodily feelings can be understood as pre-reflective modes of bodily self-awareness that nevertheless differ in degree of self-presentation or self-intimation. Finally, I use the distinction (...) between foreground and background bodily feelings to characterize the experience of being absorbed in an activity, as opposed to accounts that imply that absorption involves bodily inconspicuousness. (shrink)

The work of Henri Bergson has gone almost completely unnoticed in philosophy of sport literature. This in no way indicates the level of relevance his programme may carry for the subject. Many of the entrenched debates that have historically helped to shape the field are mirrored by Bergson's own concerns regarding perception and skill acquisition. As such, a thorough study of how the Bergsonian programme might approach the topic of athletic action is in no wise an idle pursuit? in fact, (...) very much the opposite. My intention in this paper is twofold: first, to indicate the natural commerce that exists between Bergson's philosophy and the philosophy of sport; second, and perhaps more ambitiously, to demonstrate that his approach to perception and action not only anticipates, but in some cases may help to edify, certain unresolved issues within the field. The paper develops in three parts. In part I, I provide a brief summary of Bergson's theory of perception as it is developed in Matter and Memory. Parts II and III will apply that theory to two of the central aspects of human motor activity: in part II, I investigate what it is to be in possession of skilled motor behaviour? to make that behaviour?automatic?, as it were; in part III, the controversial subject of what it is to acquire and modify skilled motor behaviour will be examined. (shrink)

Hubert Dreyfus argues that explicit thought disrupts smooth coping at both the level of everyday tasks and of highly-refined skills. However, Barbara Montero criticises Dreyfus for extending what she calls the ‘principle of automaticity’ from our everyday actions to those of trained experts. In this paper, I defend Dreyfus’ account while refining his phenomenology. I examine the phenomenology of what I call ‘esoteric’ expertise to argue that the explicit thought Montero invokes belongs rather to ‘gaps’ between or above moments of (...) reflexive coping. However, I agree that the ‘principle of automaticity’ does not adequately capture the experience of performing such skills. Drawing on examples of expert performance in sport and improvised music and dance, I argue that esoteric action, at its best, is marked by a distinct state of non-conceptual awareness- an experience of spontaneity, flow and ‘owned-ness’- that distinguishes it from the automaticity of everyday actions. (shrink)

This paper employs ethnographic research methods to study a Buddhist meditation practice that takes the walking body as its object. The mundane act of walking is transformed into a meditative object for the purpose of refining states of embodied consciousness. This meditation practice offers a glimpse of the relationship of body to mind, a fundamental concern within the philosophy of mind. The analytic focus of this paper is the practical nature of meditation work. Aspects of Buddhist Philosophy are explored and (...) compared to analytic themes within Phenomenology and Ethnomethodology. (shrink)

This paper analyzes what may have been a mistake by pianist Thelonious Monk playing a jazz solo in 1958. Even in a Monk composition designed for patterned mayhem, a note can sound out of pattern. We reframe the question of whether the note was a mistake and ask instead about how Monk handles the problem. Amazingly, he replays the note into a new pattern that resituates its jarring effect in retrospect. The mistake, or better, the mis-take , was “saved” by (...) subsequent notes. Our analysis, supported by reflections from jazz musicians and the philosopher John Dewey, encourages a reformulation of plans, takes, and mis-takes as categories for the interpretation of contingency, surprise, and repair in all human activities. A final section suggests that mistakes are essential to the practical plying and playing of knowledge into performances, particularly those that highlight learning. (shrink)

Purpose: This, the second part of a two-part paper, describes how the concerns of enactive cognitive science have been realized in actual research: methodological issues, proposed explanatory mechanisms and models, some of the potential as both a theoretical and applied science, and several of the major open research questions. Findings: Despite some skepticism about "mechanisms" in constructivist literature, enactive cognitive science attempts to develop cognitive formalisms and models. Such techniques as feedback loops, self-organization, autocatalytic networks, and dynamical systems modeling are (...) used to develop alternatives to cognitivist models. A number of technical similarities are starting to emerge in the different models being proposed. Research Implications: The need to resolve the interplay between autonomy and coupling with the environment suggests the need for further technical research. And the reintroduction of first-person concerns into cognitive science raises some questions of method, particularly with regard to the relationship between first-person experience, neuroscience, and methods of description, analysis, and explanation. Results to date suggest that insights from enactive cognitive science could lead to innovations in the design of artifacts. (shrink)

We show how an epistemology informed by cognitive science promises to shed light on an ancient problem in the philosophy of mathematics: the problem of exactness. The problem of exactness arises because geometrical knowledge is thought to concern perfect geometrical forms, whereas the embodiment of such forms in the natural world may be imperfect. There thus arises an apparent mismatch between mathematical concepts and physical reality. We propose that the problem can be solved by emphasizing the ways in which the (...) brain can transform and organize its perceptual intake. It is not necessary for a geometrical form to be perfectly instantiated in order for perception of such a form to be the basis of a geometrical concept. (shrink)

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...) by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)