Imitation, deliberation, and mindreading are characteristically human sociocognitive skills. Research on imitation and its role in social cognition is flourishing across various disciplines. Imitation is surveyed in this target article under headings of behavior, subpersonal mechanisms, and functions of imitation. A model is then advanced within which many of the developments surveyed can be located and explained. The shared circuits model (SCM) explains how imitation, deliberation, and mindreading can be enabled by subpersonal mechanisms of control, mirroring, and simulation. It is (...) cast at a middle, functional level of description, that is, between the level of neural implementation and the level of conscious perceptions and intentional actions. The SCM connects shared informational dynamics for perception and action with shared informational dynamics for self and other, while also showing how the action/perception, self/other, and actual/possible distinctions can be overlaid on these shared informational dynamics. It avoids the common conception of perception and action as separate and peripheral to central cognition. Rather, it contributes to the situated cognition movement by showing how mechanisms for perceiving action can be built on those for active perception.;>;>The SCM is developed heuristically, in five layers that can be combined in various ways to frame specific ontogenetic or phylogenetic hypotheses. The starting point is dynamic online motor control, whereby an organism is closely attuned to its embedding environment through sensorimotor feedback. Onto this are layered functions of prediction and simulation of feedback, mirroring, simulation of mirroring, monitored inhibition of motor output, and monitored simulation of input. Finally, monitored simulation of input specifying possible actions plus inhibited mirroring of such possible actions can generate information about the possible as opposed to actual instrumental actions of others, and the possible causes and effects of such possible actions, thereby enabling strategic social deliberation. Multiple instances of such shared circuits structures could be linked into a network permitting decomposition and recombination of elements, enabling flexible control, imitative learning, understanding of other agents, and instrumental and strategic deliberation. While more advanced forms of social cognition, which require tracking multiple others and their multiple possible actions, may depend on interpretative theorizing or language, the SCM shows how layered mechanisms of control, mirroring, and simulation can enable distinctively human cognitive capacities for imitation, deliberation, and mindreading. (shrink)

Imitation, deliberation, and mindreading are characteristically human sociocognitive skills. Research on imitation and its role in social cognition is flourishing across various disciplines; it is here surveyed under headings of behavior, subpersonal mechanisms, and functions of imitation. A model is then advanced within which many of the developments surveyed can be located and explained. The shared circuits model explains how imitation, deliberation, and mindreading can be enabled by subpersonal mechanisms of control, mirroring and simulation. It is cast at a middle, (...) functional level of description, between the level of neural implementation and the level of conscious perceptions and intentional actions. The shared circuits model connects shared informational dynamics for perception and action with shared informational dynamics for self and other, while also showing how the action/perception, self/other and actual/possible distinctions can be overlaid on these shared informational dynamics. It avoids the common conception of perception and action as separate and peripheral to central cognition. Rather, it contributes to the situated cognition movement by showing how mechanisms for perceiving action can be built on those for active perception. (shrink)

I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...) terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal. (shrink)

I present and evaluate Johann Gottfried Herder's criticisms of Kant's account of the sublime and Herder's own theory of the sublime, as presented in his work, Kalligone. Herder's account and criticisms ought to be taken seriously, I argue, as (respectively) a non-reductive, naturalist aesthetics of the sublime, and as illuminating the metaphysical, moral, and political presuppositions underlying Kant's (and Burke's) accounts of the sublime.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 265-279 [Access article in PDF] The Physiological Sublime: Burke's Critique of Reason Vanessa L. Ryan The eighteenth-century discussion of the sublime is primarily concerned not with works of art but with how a particular experience of being moved impacts the self. The discussion of the sublime most fully explores the question of how we make sense of our experience: "Why and (...) how does this object move me?" Focusing on the perceiving subject, most critics cast the British discussion of the sublime as reflecting a gradual shift towards a Kantian focus not on the object judged, but on the judging mind. Certainly, eighteenth-century thinkers move away from understanding the sublime as a set of qualities that are presumed to be internal to a given object, and shift their attention to the mental effects of those objects. Yet the increasing interest in the perceiving subject in eighteenth-century British thought should not be understood as necessarily anticipating a Kantian perspective. In his classic work on the sublime Samuel H. Monk claims that this aspect of the British debate provides a preliminary discussion of the Kantian "autonomy of the subject" and that it constitutes a movement towards the "subjectivism of Kant." 1 This reading of British aesthetics exclusively in [End Page 265] terms of a preparation for the Kantian description of the subject obscures the differences between the British and the German traditions. It thereby fails to accommodate the reluctance of British thinkers to give up the social and ethical when faced with the sublime: instead of explaining the commonality of the aesthetic experience by positing a "disinterested" and "autonomous" subject, thinkers such as Adam Smith, John Dennis, and Edmund Burke subordinate the freedom of the individual subject in an attempt to reconcile the aesthetic affect with moral conduct.The teleological and Kantian understanding of British eighteenth-century aesthetic theory is largely the result of the central position that has been given to its most famous theorist, Edmund Burke. Although Burke's conception of the sublime differs in some points markedly from that of his British contemporaries, his treatment of the sublime in the Philosophical Enquiry (1757) has come to represent eighteenth-century British thought, and as such it is routinely compared to Kant's analytic of the sublime. Yet at the point where the British tradition seems to come closest to the Kantian, namely, in the writings of Burke, it also most clearly marks its distance from it. Burke is in some ways the least Kantian of eighteenth-century British thinkers. Whereas Kant holds that the sublime allows us to intuit our rational capacity, Burke's physiological version of the sublime involves a critique of reason. The sublime for Burke is a question not of the subject's increasing self-awareness but of the subject's sense of limitation and of the ultimate value of that experience within a social and ethical context.One of the most intransigent problems in distinguishing the strains of thought on the sublime is that the relationship between the object and its sublime effect--between the object taken to arouse heightened response and the affective quality of such a response--is so variously conceived. The sublime experience is seen as leading, on the one hand, to an overpowering of the self and, on the other hand, to an intense self-presence and exaltation, sometimes even to self-transcendence. The central question is thus not to what extent the sublime is located in the subject, but in what way the experience of the sublime affects the perceiving subject: Does the sublime enlarge us, or diminish us? 2 Does the sublime annihilate our sense of self, or does it affirm and heighten our sense of identity? These two opposing views of the effect of the sublime on the self can be seen in the contrast between Kant and Longinus, whose theories exerted an enormous influence in Britain, especially on Burke. Whereas Longinus emphasizes that the sublime overpowers and dominates the self, Kant holds that the feeling of... (shrink)

Burke is an important exception to Nietzsche's claim that philosophical aesthetics ignores physiology and the role of practical interest. Grounded on the powerful interest of survival, Burke's theory of the sublime also offers a physiological explanation of our feelings of sublimity that explicitly defines certain conditions of our nerves as the ‘efficient cause’ of such feelings. While his general account of sublimity is widely appreciated, its somatic dimension has been dismissed as hopelessly misguided. In examining Burke's views in relation to (...) contemporary somaesthetics, cognitive psychology, and physiology, this paper shows that though Burke's somatic arguments can be criticized as overly simplistic and mechanistic, his recognition of the crucial bodily dimensions of aesthetic experience should be taken more seriously. In refining Burke's insight that bodily factors can help explain our aesthetic reactions, somaesthetics further urges that improved somatic understanding and performance can provide valuable means for enhancing our aesthetic response. (shrink)