What does it mean to enact a jazz beat as a creative performer? This article offers a critical reading of Iyer’s much-cited theory on rhythmic enaction. We locate the sonic environment approach in Iyer’s theory, and criticize him for advancing a one-to-one relationship between everyday perception and full-fledged aural competence of jazz musicians, and for comparing the latter with non-symbolic behaviour of non-human organisms. As an alternative, we suggest a Merleau-Ponty-inspired concept of rhythmic enaction, which we call the enactive communicative (...) approach. Key to this approach is the fact that jazz musicians play by ear, and that the beat emerges because of reciprocal, real-time aural communication. From this perspective, we outline the temporality of a jazz beat as a holistic and dialectical temporal structure. Throughout the discussions, we use John Coltrane’s ‘Trane’s Slo Blues’ as a point of reference. (shrink)

I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...) character. I argue that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea. (shrink)

Research in phenomenology has benefitted from using exceptional cases from pathology and expertise. But exactly how are we to generate and apply knowledge from such cases to the phenomenological domain? As researchers of cerebral palsy and musical absorption, we together answer the how question by pointing to the resource of the qualitative interview. Using the qualitative interview is a direct response to Varela’s call for better pragmatics in the methodology of phenomenology and cognitive science and Gallagher’s suggestion for phenomenology to (...) develop its methodology and outsource its tasks. We agree with their proposals, but want to develop them further by discussing and proposing a general framework that can integrate research paradigms of the well-established disciplines of phenomenological philosophy and qualitative science. We give this the working title, a “phenomenological interview”. First we describe the what of the interview, that is the nature of the interview in which one encounters another subject and generates knowledge of a given experience together with this other subject. In the second part, we qualify why it is worthwhile making the time-consuming effort to engage in a phenomenological interview. In the third and fourth parts, we in general terms discuss how to conduct the interview and the subsequent phenomenological analysis, by discussing the pragmatics of Vermersch’s and Petitmengin’s “Explicitation Interview”. (shrink)

I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...) our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience. (shrink)

This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other (...) things, (1) emotion regulation and (2) social coordination. When we do things with music, we are engaged in the work of creating and cultivating the self, as well as creating and cultivating a shared world that we inhabit with others. I develop this thesis by first introducing the notion of a musical affordance . Next, I look at how emotional affordances in music are exploited to construct and regulate emotions. I summon empirical research on neonate music therapy to argue that this is something we emerge from the womb knowing how to do. I then look at social affordances in music, arguing that joint attention to social affordances in music alters how music is both perceived and appropriated by joint attenders within social listening contexts. In support, I describe the experience of listening to and engaging with music in a live concert setting. Thinking of music as an affordance-laden structure thus reaffirms the crucial role that music plays in constructing and regulating emotional and social experiences in everyday life. (shrink)

In a series of lectures on German philosophy ‘since Kant’, the names of Fichte, Schelling, and Hegel and their critical reference to Kant are, of course, a must. No less a must, though, would seem to be Wilhelm von Humboldt, a philosopher and linguist who, together with Herder and Hamann, formed the alliterating triumvirate of a romanticist critique of Kant. The response, within the discipline, to transcendental philosophy from this side was, in contrast to the idealistic mainstream, long in the (...) coming but, in the end, rich in consequences. (shrink)

Current theories of social cognition are mainly based on a representationalist view. Moreover, they focus on a rather sophisticated and limited aspect of understanding others, i.e. on how we predict and explain others’ behaviours through representing their mental states. Research into the ‘social brain’ has also favoured a third-person paradigm of social cognition as a passive observation of others’ behaviour, attributing it to an inferential, simulative or projective process in the individual brain. In this paper, we present a concept of (...) social understanding as an ongoing, dynamical process of participatory sense-making and mutual incorporation. This process may be described (1) from a dynamical agentive systems point of view as an interaction and coordination of two embodied agents; (2) from a phenomenological approach as a mutual incorporation, i.e. a process in which the lived bodies of both participants extend and form a common intercorporality. Intersubjectivity, it is argued, is not a solitary task of deciphering or simulating the movements of others but means entering a process of embodied interaction and generating common meaning through it. This approach will be further illustrated by an analysis of primary dyadic interaction in early childhood. (shrink)

How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians have assessed the method of imitating recorded music, no systematic study has hitherto explored how the method prepares for aural jazz improvisation. The article picks up an assumption presented by Berliner (1994), suggesting that learning jazz by aural imitation is “just like” learning a mother tongue. The article studies three potential stages in the method, comparing with (...) imitative, rhythmic, multimodal, and protosymbolic behavior of infant perception (building on the works of Stern, Trevarthen, and Merleau-Ponty). The demonstrations of the aural-imitation method draw on pedagogic experiences accumulated since 1979 in the Jazz Program at the Norwegian University of Science and Technology. By analyzing structures of behavior suggested by the method, the article indicates key traits that render aural jazz improvisation possible, such as a fundamental sense of rhythm, formation of symbolic behavior, joint musical attention, and the facility to “hear via the other.” In conclusion, we critically address a frequent theoretical model describing musical improvisation as a synthesis of discrete elements or building blocks. (shrink)

This book presents a detailed analysis of what it means to be absorbed in playing music. Based on interviews with one of the world’s leading classical ensembles, “The Danish String Quartet”, it debunks the myth that experts cannot reflect while performing, but also shows that intense absorption is not something that can be achieved through will, intention, prediction or planning – it remains something individuals have to be receptive to. Based in the phenomenological tradition of Husserl and Merleau-Ponty as well (...) as of Dan Zahavi and Shaun Gallagher, it lays out the conditions and essential structures of musical absorption. Employing the lived experience of the DSQ members, it also engages and challenges core ideas in phenomenology, philosophy of mind, enactivism, expertise studies, musical psychology, flow theory, aesthetics, dream and sleep studies, psychopathology and social ontology, and proposes a method that integrates phenomenology and cognitive science. (shrink)

This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some (...) of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible. (shrink)

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

We present a synthetic theory of skilled action which proposes that cognitive processes make an important contribution to almost all skilled action, contrary to influential views that many skills are performed largely automatically. Cognitive control is focused on strategic aspects of performance, and plays a greater role as difficulty increases. We offer an analysis of various forms of skill experience and show that the theory provides a better explanation for the full set of these experiences than automatic theories. We further (...) show that the theory can explain experimental evidence for skill automaticity, including evidence that secondary tasks do not interfere with expert performance, and evidence that experts have reduced memory for performance of sensorimotor skills. (shrink)

How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians have assessed the method of imitating recorded music, no systematic study has hitherto explored how the method prepares for aural jazz improvisation. The article uses Berliner's assumption that learning jazz by aural imitation is “just like” learning a mother tongue. The article studies three potential stages in the method, comparing them to the imitative, rhythmic, multimodal, and (...) protosymbolic behavior of infant perception (building on the works of Stern, Trevarthen, and Merleau-Ponty). The demonstrations of the aural imitation method draw on pedagogic experiences accumulated since 1979 at the Jazz Program at the Norwegian University of Science and Technology. By analyzing structures of behavior suggested by the method, the article indicates key traits that render aural jazz improvisation possible, such as a fundamental sense of rhythm, formation of symbolic behavior, joint musical attention, and the facility to “hear via the other.” In conclusion, we critically address a frequent theoretical model describing musical improvisation as a synthesis of discrete elements or building blocks. (shrink)

The paper presents two empirical cases of expert musicians—a classical string quartet and a solo, free improvisation saxophonist—to analyze the explanatory power and reach of theories in the field of expertise studies and joint action. We argue that neither the positions stressing top-down capacities of prediction, planning or perspective-taking, nor those emphasizing bottom-up embodied processes of entrainment, motor-responses and emotional sharing can do justice to the empirical material. We then turn to hybrid theories in the expertise debate and interactionist accounts (...) of cognition. Attempting to strengthen and extend them, we offer ‘Arch’: an overarching conception of musical interaction as an externalized, cognitive scaffold that encompasses high and low-level cognition, internal and external processes, as well as the shared normative space including the musical materials in which the musicians perform. In other words, ‘Arch’ proposes interaction as a multivariate multimodal overarching scaffold necessary to explain not only cases of joint performance, but equally of solo improvisation. (shrink)

Based on a qualitative study about expert musicianship, this paper distinguishes three ways of interacting by putting them in relation to the sense of agency. Following Pacherie, it highlights that the phenomenology of shared agency undergoes a drastic transformation when musicians establish a sense of we-agency. In particular, the musicians conceive of the performance as one single action towards which they experience an epistemic privileged access. The implications of these results for a theory of collective intentionality are discussed by addressing (...) two general questions: When several individuals share an intention, does this fact secure plural self-knowledge? And is it possible to have non-observational knowledge about a collective action? It is claimed that the results drawn from the study about expert musicianship supports negative answers to both questions. (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 investigates the phenomenological status of musical affordances through a Gadamerian focus on human communication. With an extra emphasis on Reybrouck’s much-cited affordance-driven theory, I locate fundamental premises in the affordance concept. By initiating a dialogue with Gadamer’s perspective, I suggest a slight yet important shift of perspective that allows us to see an autonomous, transformative, and intrinsically active ‘ideality’ potentially emerging in music. In the final section, I try to demonstrate how Gadamer’s perspective is supported by recent empirical (...) studies on communicative musicality and child development, and allows us to see how protoversions of the transformative ‘ideality’ are already present at the beginning of human life. (shrink)

Based on a qualitative study about expert musicianship, this paper distinguishes three ways of interacting by putting them in relation to the sense of agency. Following Pacherie, it highlights that the phenomenology of shared agency undergoes a drastic transformation when musicians establish a sense of we-agency. In particular, the musicians conceive of the performance as one single action towards which they experience an epistemic privileged access. The implications of these results for a theory of collective intentionality are discussed by addressing (...) two general questions: When several individuals share an intention, does this fact secure plural self-knowledge? And is it possible to have non-observational knowledge about a collective action? It is claimed that the results drawn from the study about expert musicianship supports negative answers to both questions. (shrink)

Adorno's conception of conceptually articulated experience can be defended and made fruitful for a critical philosophy after the so-called linguistic turn. The aim is both to answer the criticisms raised by Jürgen Habermas and others that Adorno's philosophy remains bound by the premises of a subject-centred philosophy, and to criticize social-pragmatism from the vantage-point of Adorno's philosophy of language. It is shown that Adorno is committed to a picture of experience very much in line with the recent views of John (...) McDowell, which extends the space of reasons beyond the space of concepts. Further, it is shown that non-inferential justification can be combined with an expressivist picture of judgment. Finally, it is argued that what is called the extended space of reasons is ultimately social; that representation, the aboutness of thought, serves expressive roles in a socially articulated space of reason-giving. The advantage of Adorno's position vis-à-vis a one-sided social-pragmatism consists in his defence of what is called subjective-material proprieties of judgment. Adorno's idea that the extended space of reasons implies the acknowledgement of what he refers to as the non-identical within conceptually articulated experience is thus reconstructed and defended. Such non-identity, it is claimed, is exhibited in successful art-works which thereby ought to be counted as forms of reasoning. On this basis, Adorno's philosophy acquires critical and normative significance after the linguistic turn. (shrink)

This article takes issue with the formalism problem arguably pertaining to Habermas's conception of communicative rationality and discursive justification. Beginning with the Hegelian premises of Habermas's theory of mutual understanding and communicative rationality, the article proceeds to make Kant's doctrine of reflective judgement fruitful for a critique of Habermas's restriction of reasons to discursively articulated endorsements, the 'force of the better reasons'. The argument consists in showing that discursive justification must rely upon endorsements of particulars exhibited in right judgements, and (...) that such endorsements must be expressed or articulated to yield public manifestations of discursive orientations and commitments, constituting what is referred to as 'communicative experience'. On the account presented here, the rational significance of particulars is revealed in the expressive attitude that allows or admits non-discursive constraints to the conception of rational justification. The promise of such an account - as premised upon Kant's insights in his third Critique - consists in its capability to avoid the one-sided formalism of discursive rationality, incorporating ethical, expressive and aesthetic dimensions to our rational self-conception. Key Words: aesthetic experience • communicative experience • concrete other • discourse-ethics • ethical life • feminism • Habermas • Hegel • Kant • morality • rational justification • reflective judgement • world-disclosure. (shrink)