This paper contributes to the interdisciplinary theory of collective affective niche construction, which extends the extended mind (ExM) thesis from cognitive to affective phenomena. Although theoretically innovative, the theory lacks a detailed psychological account of how collective affectivity is scaffolded. It has also been criticized for its uncritical assumption of the subject qua the autonomous user of the affective scaffolding as disposable resources, abstracting away from embedded subjectivity in particular techno-political arrangements. We propose that the social motivation hypothesis, an account (...) grounded in recent empirical and theoretical developments in psychology as well as in the classic theory of moral sentiments, will address the former criticism by explicating the basic mechanisms of human social orientation at work in collective affective niche construction. We also begin to address the latter normative criticism in mobilizing a so-called we-mode approach to collective emotion. To make these theoretical dialectics salient, we study social media as a case of collective affective niches, focusing on the impact on subjective well-being. Finally, we briefly identify promising future directions in building a normative theory of affective niche construction on the collective level. (shrink)

The theory of we-mode cognition seeks to expand our understanding of the cognition involved in joint action, and therein claims to explain how we can have non-theoretical and non-simulative access to the minds of others (Gallotti and Frith Trends in Cognitive Sciences, 17: 160-165, 2013a, Gallotti and Frith Trends in Cognitive Sciences, 17: 304-305, 2013b). A basic tenet of this theory is that each individual jointly intends to accomplish some outcome together, requiring the adoption of a “first-person plural perspective” (Gallotti (...) and Frith 2013a, p.160) that is neither strictly individualistic – in the sense that a we-mode state is enabled by the joint involvement of (an)other(s) – nor strictly pluralistic – in the sense that the involved individuals, rather than a ‘group’, are the bearers of the relevant joint intention(s). Whilst I concur with the idea that, in certain circumstances, we cognise from an irreducible ‘first-person plural perspective’, Gallotti & Frith’s existing proposal of we-mode cognition is in need of theoretical clarification. In this paper, I deliver such clarification so that the theory of we-mode cognition is re-defined as: (a). sensitive to the phenomenological transformation that is induced by the embodied co-presence of others, and (b). limited to cases in which one intentionally attends to the capacities of one’s co-participant in joint action. (shrink)

Research on the phenomenology of agency for joint action has so far focused on the sense of agency and control in joint action, leaving aside questions on how it feels to act together. This paper tries to fill this gap in a way consistent with the existing theories of joint action and shared emotion. We first reconstruct Pacherie’s account on the phenomenology of agency for joint action, pointing out its two problems, namely the necessary trade-off between the sense of self- (...) and we-agency; and the lack of affective phenomenology of joint action in general. After elaborating on these criticisms based on our theory of shared emotion, we substantiate the second criticism by discussing different mechanisms of shared affect—feelings and emotions—that are present in typical joint actions. We show that our account improves on Pacherie’s, first by introducing our agentive model of we-agency to overcome her unnecessary dichotomy between a sense of self- and we-agency, and then by suggesting that the mechanisms of shared affect enhance not only the predictability of other agents’ actions as Pacherie highlights, but also an agentive sense of we-agency that emerges from shared emotions experienced in the course and consequence of joint action. (shrink)

Creativity is a relevant yet elusive concept, and consequently there is a large range of methods to assess creativity in many different contexts. Broadly speaking, we can differentiate between creativity measures on the level of the person (such as the Torrance tests), the level of the creative product (consensual assessment), and the level of the creative process. In the recent literature on children's creativity, 80% of the studies employed measures on either the person or the product level (Kupers et al., (...) submitted). However, for parents, teachers, and employers who wish to stimulate creativity, insight in the (often socially embedded) creative process is badly needed. This move from the inter-individual to the intra-individual level of assessment is furthermore in line with research in many other domains in psychology. Although there is some research focusing more on detailed descriptions of creative processes, the studies are usually purely qualitative and therefore highly context-specific, making generalization difficult. In this paper, we present a newly developed coding frame as a systematic, generic, micro-level measure of creativity. What is unique about this coding frame is that it can be applied to observations of creative processes in many different contexts, and for different kinds of creative tasks. The core of the instrument is that it allows us to assess the two core components of creativity - novelty and appropriateness on an ordinal 4-point scale, at each moment during the creative process. The coding frame can be applied in three steps. The first step is to determine the unit of analysis, that is, the level of detail in which the creative process is assessed. The second step and third steps are coding the units on two ordinal scales of novelty and appropriateness, respectively. In order to illustrate the versatility of our instrument, we apply it to two cases of very different creative processes: a musical composition task (open-ended) and a scientific reasoning task (closed- ended). Last, we demonstrate the possibilities for analyzing this type of dense intra-individual measurements of creativity (time series analysis and state space grids) and discuss the future research that is needed to fully validate the instrument. (shrink)

Sacred Harp singers the world over gather weekly to sing out ofThe Sacred Harp, a collection of shape-note songs first published in 1844. Their tradition is highly ritualized, and it plays an important role in the lives of many participants. Following the implementation of lockdown protocols to combat the COVID-19 pandemic, groups of Sacred Harp singers quickly and independently devised a variety of means by which to sing together online using Zoom, Jamulus, and Facebook Live. The rapidity and creativity with (...) which Sacred Harp singers developed ways to sustain their activities attests to the strength and significance of this community of practice, and in this article I describe each modality and provide an account of how it came to be developed and widely used. As a participant-observer, I completed extensive fieldwork across these digital sites and conducted semi-structured interviews with 22 other singers. I found that online singing practices have reshaped the Sacred Harp community. Many singers who did not previously have the opportunity to participate now have access, while others have lost access due to technological barriers or lack of interest in online activities. At the same time, geographical barriers have disintegrated, and singing organizers must make an effort to maintain local identity. A stable community of singers has emerged in the digital realm, but it is by no means identical to the community that predated the pandemic. I also identify the ways in which online singing has proven meaningful to participants by providing continuity in their personal and communal practice. Specifically, online singing allows participants to access and celebrate their collective memories of the Sacred Harp community, carry out significant rituals, and continue to grow as singers. While no single modality replicates the complete Sacred Harp singing experience, together they function “like pieces in a puzzle”, allowing individual participants to access many of the elements of Sacred Harp singing that are most meaningful to them. (shrink)