Pencak Silat is a martial art, performance practice and system of body cultivation prevalent throughout much of Indonesia and the Malay-speaking world. This article compares different modalities of the practice and pedagogy of Sundanese Pencak Silat in West Java with more recent attempts to standardize practice at a national level under the auspices of the Indonesian Pencak Silat Association. Drawing on David Sudnow’s seminal account of learning how to play jazz piano, it is suggested that learning how to improvise is (...) a highly structured process that proceeds from the mastery of certain generic principles from which are generated potentially unbounded repertoires of habitual response. In the institutionalized instruction that is propagated by IPSI generative potential is subjugated to the desire to achieve homogeneity in practice. Aspects of Pencak Silat as it is taught nationally under the auspices of IPSI are examined in relation to the notion of spectacle. In conclusion, it is argued that the limits of the Nationalist project become self-evident as the dynamic potential of the body in Sundanese Pencak Silat is subsumed in an attempt to achieve fixity of the symbolic order. (shrink)

‘There is no place in the phenomenology of fully absorbed coping’, writes Hubert Dreyfus, ‘for mindfulness. In flow, as Sartre sees, there are only attractive and repulsive forces drawing appropriate activity out of an active body’1. Among the many ways in which history animates dynamical systems at a range of distinctive timescales, the phenomena of embodied human habit, skilful movement, and absorbed coping are among the most pervasive and mundane, and the most philosophically puzzling. In this essay we examine both (...) habitual and skilled movement, sketching the outlines of a multidimensional framework within which the many differences across distinctive cases and domains might be fruitfully understood. Both the range of movement phenomena which can plausibly be seen as instances of habit or skill, and the space of possible theories of such phenomena are richer and more disparate than philosophy easily encompasses. We seek to bring phenomenology into contact with relevant movements in psychological theories of skilful action, in the belief that phenomenological philosophy and cognitive science can be allies rather than antagonists. (shrink)

Experiences of embodied remembering are familiar and diverse. We settle bodily into familiar chairs or find our way easily round familiar rooms. We inhabit our own kitchens or cars or workspaces effectively and comfortably, and feel disrupted when our habitual and accustomed objects or technologies change or break or are not available. Hearing a particular song can viscerally bring back either one conversation long ago, or just the urge to dance. Some people explicitly use their bodies to record, store, or (...) cue memories. Others can move skilfully, without stopping to think, in complex and changing environments thanks to the cumulative expertise accrued in their history of fighting fires, or dancing, or playing hockey. The forms of memory involved in these cases may be distinct, operating at different timescales and levels, and by way of different mechanisms and media, but they often cooperate in the many contexts of our practices of remembering. (shrink)

Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical research (...) on creativity has much to offer to the cognitive science of skill and expertise. Experts are able to bring their intelligence to bear in controlling fast and seemingly automatic actions by utilizing a form of control often called ‘intelligent automaticity.’ In this spirit, I argue that the environment of intelligently automatic action control curates a similarly ideal environment for the processes of creativity. Moreover, insofar as creativity is ideally operative within the environment of expert action control, I argue further that creativity functions as one representative form of ‘intelligence’ embedded within otherwise fluid, and automatic expert actions. Creativity is able to do so even without conscious representation through the powers of incubated cognition. (shrink)

This article analyses the skills and knowledges involved in multiplayer first-person shooting games, specifically Call of Duty 4 for the Xbox 360 games console. In doing so, it argues that the environments of first-person shooting games are designed to be intense spaces that produce captivated subjects – users who play attentively for long periods of time. Developing Heidegger’s concept of attunement and Stiegler’s account of retention, the article unpacks the somatic and sensory skills involved in videogame play and discusses how (...) videogame environments cultivate a sense of captivation. In conclusion the article reflects on the politics of captivation for the bodies that engage with these games through the idea of vulnerability as an ‘opening of the body’s capacity for sense’. (shrink)

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 (...) with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself as coupled with the world. Understanding music-making as a pre-eminent case of exploration helps us explicate and appreciate the developmental, sensorimotor, and more advanced cognitive resources that exist in music-making activities. (shrink)

This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in art and (...) in life), but it does suggest that we might use his theory of ethical practice in conjunction with his theory of art as experience in order to create a more robust and unified Deweyan theory of what the performing artist does. (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)

Yoga is a unique form of expert movement that promotes an increasingly subtle interpenetration of thought and movement. The mindful nature of its practice, even at expert levels, challenges the idea that thought and mind are inevitably disruptive to absorbed coping. Building on parallel phenomenological and ethnographic studies of skilful performance and embodied apprenticeship, we argue for the importance in yoga of mental access to embodied movement during skill execution by way of a case study of instruction and practice in (...) two related traditions, Iyengar and Anusara. Sharing a pose repertoire, they are based on distinctive philosophical systems with different teaching styles and metaphoric structures. To address relations between pedagogy and practice in embodied expertise, and to investigate the reciprocal influences of embodiment and thought, we explore in detail the linguistically mediated learning context where practitioners work with yoga teachers. Here, the mind/body problem comes to practical life. We demonstrate the effects of words on bodies, as knowledge is literally incorporated. We show why interpersonal influence on our movement capacities is sometimes needed to enhance expertise. We theorize and identify ‘signature patterns of tension’ among practitioners. These patterns have four sources: ghost gestures, innate differences in bodily form, functional fusing, and signature patterns of affective experience, modulation and expression. These patterns of tension produce ‘silent zones’, cognitively impenetrable actions, functional fusing of a skilful, compensatory form, and signature patterns of pain and damage. We show how instruction can disrupt these silent zones, enhancing mental and physical flexibility. (shrink)

The aim of my paper is twofold. First, I show how the notion of phenomenal field can be used to examine, describe and understand particular collective patterns pertaining to the everyday domain of our common social experience. Secondly, I outline the role of the notion of "phenomenal field" in ethnomethodology. I briefly discuss Gurwitsch's notion of functional meaning. After presenting the argument, I show "the locally achieved ordinariness of a common task", that is the lining up of the player of (...) the two teams in the pitch, as an embodied coherence offigural contexture in its empirical perceptual details, as Garfinkel says. (shrink)

This study takes an interest in instructions and instructed actions in the context of manual skills. The analysis focuses on a video recorded episode where a teacher demonstrates how to crochet chain stitches, requests a group of students to reproduce her actions, and then repeatedly corrects the attempts of one of the students. The initial request, and the students’ responses to it, could be seen as preliminary to the series of corrective sequences that come next: the request and the following (...) attempts make it possible for the teacher to launch instructional sequences specifically designed and addressed to the students who need further guidance. In the interaction between the teacher and the novice student, the reasoned character of the instructed actions is not explained so much as installed and tuned. The materiality of the project makes it possible for the two parties to methodically and meticulously adjust their actions in accordance with each other, and towards the gradual realization of the aimed-for results. In connection to this, a number of issues pertaining to the reproducibility and recognizability of manual skills are raised: how instructions-in-interaction orient towards the progression of the skill rather than the interaction itself; how attempts by and mistakes of the instructed party provide grounds for further instruction; and, consequently, how instructions in the form of corrections build on the instructor’s continuous assessments of the instructed actions. (shrink)

This paper examines whether social workers and other direct service practitioners can find utility in ethnomethodology despite or even because of the policy of “indifference”. Garfinkel, the father of ethnomethodology, sets out “ethnomethodological indifference” to insist that EM studies do not supplement, formulate remedies, develop humanistic arguments, or encourage discussions of theory. While at first blush such limits on EM might appear to be a barrier for most social workers this paper argues against first impressions. It is argued that EM (...) provides an important redirection for social work practice and research. Additionally, it is proposed that by approaching EM through Dorothy Smith’s Institutional Ethnography social workers can bridge Garfinkel’s quest for haeccities with extended social relations and actual courses of actions to find congruence between EM and accomplished professional practice. (shrink)