This thesis explores and discusses foundational issues concerning the relationship between phenomenological philosophy and the enactive approach to cognitive science, with the aim of clarifying, developing, and promoting the project of enactive phenomenology. This project is framed by three general ideas: 1) that the sciences of mind need a phenomenological grounding, 2) that the enactive approach is the currently most promising attempt to provide mind science with such a grounding, and 3) that this attempt involves both a naturalization of phenomenology (...) and a phenomenologization of the concept of nature. More specifically, enactive phenomenology is the project of pursuing mutually illuminative exchanges between, on the one hand, phenomenological investigations of the structures of lived experience and embodied existence and, on the other, scientific accounts of mind and life – in particular those framed by theories of biological self-organization. The thesis consists of two parts. Part one is an introductory essay that seeks to clarify some of enactive phenomenology’s overarching philosophical commitments by tracing some of its historical roots. Part two is a compilation of four articles, each of which intervenes in a different contemporary debate relevant to the dissertation’s project. (shrink)

Traditionally, philosophers have appealed to the phenomenological similarity between visual experience and visual imagery to support the hypothesis that there is significant overlap between the perceptual and imaginative domains. The current evidence, however, is inconclusive: while evidence from transcranial brain stimulation seems to support this conclusion, neurophysiological evidence from brain lesion studies (e.g., from patients with brain lesions resulting in a loss of mental imagery but not a corresponding loss of perception and vice versa) indicates that there are functional and (...) anatomical dissociations between mental imagery and perception. Assuming that the mental imagery and perception do not overlap, at least, to the extent traditionally assumed, then the question arises as to what exactly mental imagery is and whether it parallels perception by proceeding via several functionally distinct mechanisms. In this review, we argue that even though there may not be a shared mechanism underlying vision for perception and conscious imagery, there is an overlap between the mechanisms underlying vision for action and unconscious visual imagery. On the basis of these findings, we propose a modification of Kosslyn’s model of imagery that accommodates unconscious imagination and explore possible explanations of the quasi-pictorial phenomenology of conscious visual imagery in light of the fact that its underlying neural substrates and mechanisms typically are distinct from those of visual experience. (shrink)

This article deals with the links between the enaction paradigm and artificial intelligence. Enaction is considered a metaphor for artificial intelligence, as a number of the notions which it deals with are deemed incompatible with the phenomenal field of the virtual. After explaining this stance, we shall review previous works regarding this issue in terms of artificial life and robotics. We shall focus on the lack of recognition of co-evolution at the heart of these approaches. We propose to explicitly integrate (...) the evolution of the environment into our approach in order to refine the ontogenesis of the artificial system, and to compare it with the enaction paradigm. The growing complexity of the ontogenetic mechanisms to be activated can therefore be compensated by an interactive guidance system emanating from the environment. This proposition does not however, resolve that of the relevance of the meaning created by the machine (sense-making). Such reflections lead us to integrate human interaction into this environment in order to construct relevant meaning in terms of participative artificial intelligence. This raises a number of questions with regards to setting up an enactive interaction. The article concludes by exploring a number of issues, thereby enabling us to associate current approaches with the principles of morphogenesis, guidance, the phenomenology of interactions and the use of minimal enactive interfaces in setting up experiments which will deal with the problem of artificial intelligence in a variety of enaction-based ways. (shrink)

Ecological Psychology and Enactivism both challenge representationist cognitive science, but the two approaches have only begun to engage in dialogue. Further conceptual clarification is required in which differences are as important as common ground. This paper enters the dialogue by focusing on important differences. After a brief account of the parallel histories of Ecological Psychology and Enactivism, we cover incompatibility between them regarding their theories of sensation and perception. First, we show how and why in ecological theory perception is, crucially, (...) not based on sensation. We elucidate this idea by examining the biological roots of work in the two fields, concentrating on Gibson and Varela and Maturana. We expound an ecological critique of any sensation-based approach to perception by detailing two topics: classic retinal image theories and perception in single-celled organisms. The second main point emphasizes the importance of the idea of organism-environment mutuality and its difference from structural coupling of sensations and motor behavior. We point out how ecological - phenomenological methods of inquiry grow out of mutualism and compare Gibson’s idea of visual kinesthesis to Merleau-Ponty’s idea of the lived body. Third, we conclude that Ecological Psychology and varieties of Enactivism are laying down different paths to pursue related goals. Thus, convergence of Ecological Psychology and Enactivism is not possible given their conflicting assumptions, but cross-fertilization is possible and desirable. (shrink)

1. Phenomenology is first and foremost about intentionality. As Husserl puts it, “Intentionality is the name of the problem encompassed by the whole of phenomenology”.1 Broadly understood, the phen...

Within the philosophy of mind, consciousness is currently understood as the expression of one or other cognitive modality, either intentionality , transparency , subjectivity or reflexivity . However, neither intentionality, subjectivity nor transparency adequately distinguishes conscious from nonconscious cognition. Consequently, the only genuine index or defining characteristic of consciousness is reflexivity, the capacity for autonoetic or self-referring, self-monitoring awareness. But the identification of reflexivity as the principal index of consciousness raises a major challenge in relation to the cognitive mechanism responsible (...) for operationalizing such a reflexive state. Current reliance by higher-order and intrinsic self-representational theories on self-representing data structures to achieve reflexive self-awareness is highly problematic, suggesting a solution in terms of a self-referential processing regime. (shrink)

There exists a venerable tradition of interdisciplinary research into the origins and development of Paleolithic cave painting. In recent years this research has begun to be inflected by rapid advances in measurement techniques that are delivering chronological data with unprecedented accuracy. Patterns are emerging from the accumulating evidence whose precise interpretation demands corresponding advances in theory. It seems that cave painting went through several transitions, beginning with the creation of simple lines, dots and disks, followed by hand stencils, then by (...) outlined figures, and finally by naturalistic figures. So far the most systematic evidence comes from Europe, although there are also indications that this sequence could be a universal pattern. The shamanic hypothesis provides a useful theoretical starting point because of its emphasis on the role of performance and phenomenology in the creative process. However, it still tends to reduce this sequence to mere stylistic and thematic changes that were external products of an already fully formed modern mind. Here I show how key insights from semiotics and material engagement theory can advance this explanatory framework to the extent that we become able to postdict the major transitions in the chronology of Paleolithic cave painting. An intriguing implication is that this is at the same time a chronology of cognitive changes, namely from a performative-phenomenological to a reflective-representational mind. (shrink)

Many spiritual traditions employ certain mental techniques (meditation) which consist in inhibiting mental activity whilst nonetheless remaining fully conscious, which is supposed to lead to a realisation of one’s own true nature prior to habitual self-substantialisation. In this paper I propose that this practice can be understood as a special means of becoming aware of consciousness itself as such. To explain this claim I conduct some phenomenologically oriented considerations about the nature of consciousness qua presence and the problem of self-presence (...) of this presence. (shrink)

Descartes’ Method of Radical Doubt was not radical enough. –A. Marcel (2003, 181) In short, heterophenomenology is nothing new; it is nothing other than the method that has been used by psychophysicists, cognitive psychologists, clinical neuropsychologists, and just about everybody who has ever purported to study human consciousness in a serious, scientific way. –D. Dennett (2003, 22).

This article deals with the links between the enaction paradigm and artificial intelligence. Enaction is considered a metaphor for artificial intelligence, as a number of the notions which it deals with are deemed incompatible with the phenomenal field of the virtual. After explaining this stance, we shall review previous works regarding this issue in terms of artificial life and robotics. We shall focus on the lack of recognition of co-evolution at the heart of these approaches. We propose to explicitly integrate (...) the evolution of the environment into our approach in order to refine the ontogenesis of the artificial system, and to compare it with the enaction paradigm. The growing complexity of the ontogenetic mechanisms to be activated can therefore be compensated by an interactive guidance system emanating from the environment. This proposition does not however, resolve that of the relevance of the meaning created by the machine (sense-making). Such reflections lead us to integrate human interaction into this environment in order to construct relevant meaning in terms of participative artificial intelligence. This raises a number of questions with regards to setting up an enactive interaction. The article concludes by exploring a number of issues, thereby enabling us to associate current approaches with the principles of morphogenesis, guidance, the phenomenology of interactions and the use of minimal enactive interfaces in setting up experiments which will deal with the problem of artificial intelligence in a variety of enaction-based ways. (shrink)

The place of emotions in aesthetic response has long been a topic in contemporary philosophical theorizing. One aspect of the debate in particular seems to have become a recalcitrant problem: when experiencing fiction, we experience emotional reactions towards what we know not to exist. Is this rational? In fact, is it even possible? This article deals with the so‐called “paradox of fiction” from the viewpoint of ancient poetics. In the first section, I survey some of the main arguments proposed to (...) (dis)solve the paradox in analytic philosophy. In the second and the third sections, I address what I consider two problematic assumptions of existing analytic approaches: their prescriptive, “essentialist” attitude and their exclusive focus on matters of content. By offering a brief sketch of the ancient principles of “likelihood” and “vividness”, I argue that they provide a direct and cognitively realistic answer to the paradox insofar as they account for the neutralization of doxastic features in imaginative acts and ground affective responses to fiction in the phenomenon of “aesthetic immersion”, explained in experiential, rather than representational, terms. (shrink)

Summary The paper presents the result of a collective reflection inspired by the individual suggestions of 30 researchers working in different research areas. They are all familiar with the Experimental Phenomenology of Perception, and are aware of the importance that this approach might represent nowadays in their specific research field. The picture that emerges from this ‘mosaic’ stimulates us to consider the potential future developments of this approach if we accept that we need to push its borders beyond the traditional (...) aims of the study of perception (as masterfully developed by the historic Italian Maestri of this approach). If we take this broader view, the Experimental Phenomenology of Perception can extend its perimeters from an analysis of strictly perceptual aspects to an analysis of cognitive and metacognitive aspects (such as aesthetic evaluations, the perception of risk, the experience of certainty/uncertainty in a reasoning process, the perception of proximity to/distance from the solution to a problem and meaning-making in language). The cognitive and metacognitive aspects referred to are grounded in and modelled on the perceiver’s experience of a given situation. (shrink)

Experientialist semantics has contributed to a broader notion of linguistic meaning by emphasizing notions such as construal, perspective, metaphor, and embodiment, but has suffered from an individualist concept of meaning and has conflated experiential motivations with conventional semantics. We argue that these problems can be redressed by methods and concepts from phenomenology, on the basis of a case study of sentences of non-actual motion such as “The mountain range goes all the way from Mexico to Canada.” Through a phenomenological reanalysis (...) of proposals of Talmy, Langacker, and Matlock, we show that non-actual motion is both experientially and linguistically non-unitary. At least three different features of human consciousness—enactive perception, visual scanning, and imagination—constitute experiential motivations for non-actual motion sentences, and each of these could be related to phenomenological analyses of human intentionality. The second problem is addressed by proposing that the experiential motivations of non-actual motion sentences can be viewed as sedimented through “passive” processes of acquisition and social transmission and that this implies an interactive loop between experience and language, yielding losses in terms of original experience, but gains in terms of communal signification. Something that is underestimated by phenomenology is that what is sedimented are not only intentional objects such as states of affairs, but aspects of how they are given, i.e., the original, temporal, bodily experiences themselves. Since cognitive semantics has emphasized such aspects of meaning, we suggest that phenomenology can itself benefit from experientialist semantics, especially when it turns its focus from prepredicative to predicative, linguistic intentionality. (shrink)

In this essay, it is argued that naturalism of an even moderate sort speaks strongly against a certain widely held thesis about the human mental (and cognitive) architecture: that it is divided into two distinct levels, the personal and the subpersonal, about the former of which we gain knowledge in a manner that effectively insulates such knowledge from the results of scientific research. -/- An empirically motivated alternative is proposed, according to which the architecture is, so to speak, flattened from (...) above. On this flattened view, although the states and processes typically associated with the personal level likely appear in our best models of the production of human behavior, they appear alongside states and processes normally associated with the subpersonal level. Moreover, the success of such models depends nowise on a levels-based distinction between the various causal contributors. It is argued that the flattened view has methodological implications of significant import. (shrink)

In this paper, I oppose the common assumption that visual descriptions in prose fiction are imageable by virtue of perceptual mimesis. Based on introspection as well as convergent support from cognitive science and other disciplines, I argue that visual description (and the mental imagery it elicits), unlike narrative (and the mental imagery it elicits), often stands in no positive relation to perceptual mimesis because it lacks a structural counterpart in perceptual experience. I present an alternative way of defining the kind (...) of mental imagery elicited by visual descriptions, and propose a number of text variables underlying the imageability or non-imageability of any such description. (shrink)

I have learned a lot from Evan Thompson’s book–his scholarship is formidable, and his taste for relatively overlooked thinkers is admirable–but I keep stumbling over the strain induced by his self-assigned task of demonstrating that his heroes–Varela and Maturana, Merleau-Ponty and (now) Husserl, Oyama and Moss and others–have shattered the comfortable assumptions of orthodoxy, and outlined radical new approaches to the puzzles of life and mind. The irony is that Thompson is such a clear and conscientious expositor that he makes (...) it much easier for me to see that the ideas he expounds, while often truly excellent, are not really all that revolutionary, but, at best, valuable correctives to the sorts of oversimplifications that tend to get turned into mantras by sheer repetition, in the textbooks and popular accounts of these topics in the media. (shrink)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...) aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

Comparisons between audiobook listening and print reading often boil down to the fact that audiobooks impose limitations on the recipient’s continuous in-depth reflection. As a result, audiobook listening is considered a shallow alternative to reading. This chapter critically revisits the following three intuitions commonly associated with such comparisons: 1) Audiobooks elicit more mental imagery than print. 2) Audiobooks invite more inattentive processing than print. 3) Audiobook listening is more contingent on the environment than print reading. Instead of postulating the superiority (...) of print over audio, the chapter argues that the three intuitions are largely based on a misconception of print reading, its experiential characteristics, and its function. (shrink)