A concert pianist the second author videotaped herself learning J.S. Bach's Italian Concerto Presto , and commented on the problems she encountered as she practised. Approximately two years later the pianist wrote out the first page of the score from memory. The pianist's verbal reports indicated that in the early sessions she identified and memorised the formal structure of the piece, and in the later sessions she practised using this organisation to retrieve the memory cues that controlled her playing. The (...) practice and recall data supported this account. Both were organised by the formal structure of the music. Practice segments were more likely to start and stop at boundaries of the formal structure than at other locations, and recall was higher for the beginnings of sections than for later portions. Like other forms of expert memory, pianistic memory appears to be based on use of a highly practised retrieval scheme which permits rapid retrieval of information from long-term memory. (shrink)

McDowell's claim that "in mature human beings, embodied coping is permeated with mindedness",1 suggests a new version of the mentalist myth which, like the others, is untrue to the phenomenon. The phenomena show that embodied skills, when we are fully absorbed in enacting them, have a kind of non-mental content that is non-conceptual, non-propositional, non-rational and non-linguistic. This is not to deny that we can monitor our activity while performing it. For solving problems, learning a new skill, receiving coaching, and (...) so forth, such monitoring is invaluable. But monitoring what we are doing as we are doing it degrades performance to at best competence. On McDowell's view, there is no way to account for such a degradation in performance since the same sort of content would be involved whether we were fully absorbed in or paying attention to what we were doing. McDowell claims that it is an advantage of his conceptualism that it avoids any foundationalist attempt to build up the objective world on the basis of an indubitable Given or any other ground-floor experience. And, indeed, if the world is all that is the case and our minds are unproblematically open to it, all experience is on the same footing. But one must distinguish motor intentionality, and the interrelated solicitations our coping body is intertwined with, from conceptual intentionality and the world of propositional structures it opens onto. The existential phenomenologist can then agree with McDowell in rejecting traditional foundationalisms, while yet affirming and describing the ground-floor role of motor intentionality in providing the support on which all forms of conceptual intentionality are based. (shrink)

In previous work I urged that the perceptual experience we rational animals enjoy is informed by capacities that belong to our rationality, and - in passing - that something similar holds for our intentional action. In his Presidential Address, Hubert Dreyfus argued that I thereby embraced a myth, "the Myth of the Mental". According to Dreyfus, I cannot accommodate the phenomenology of unreflective bodily coping, and its importance as a background for the conceptual capacities exercised in reflective intellectual activity. My (...) paper responds to this accusation. Dreyfus misreads my invocation of Aristotle, and is thereby led to suppose, wrongly, that I conceive rationality as detached, brought to bear on practical predicaments from a standpoint other than one of immersion in them. I urge that even unreflective bodily coping, on the part of rational animals, is informed by their rationality. Dreyfus mentions Heidegger’s distinction, which is picked up by Gadamer, between being oriented towards the world and merely inhabiting an environment. But he sets it aside, whereas it is crucial for the issue between us. Engaged bodily coping involves responsiveness to affordances, and responsiveness to affordances on the part of rational animals belongs to their relation to the world. I explain how the idea that conceptual capacities are actualized in our perceptual experience is connected with the thought that our perceptual experience opens us to the world. Finally, I suggest that the real myth in this area is the conception of rationality underlying Dreyfus’s resistance to my picture. (shrink)

Existential phenomenologists hold that the two most basic forms of intelligent behavior, learning, and skillful action, can be described and explained without recourse to mind or brain representations. This claim is expressed in two central notions in Merleau-Ponty's Phenomenology of Perception: the intentional arc and the tendency to achieve a maximal grip. The intentional arc names the tight connection between body and world, such that, as the active body acquires skills, those skills are “stored”, not as representations in the mind, (...) but as dispositions to respond to the solicitations of situations in the world. A phenomenology of skill acquisition confirms that, as one acquires expertise, the acquired know-how is experienced as finer and finer discriminations of situations paired with the appropriate response to each. Maximal grip names the body's tendency to refine its responses so as to bring the current situation closer to an optimal gestalt. Thus, successful learning and action do not require propositional mental representations. They do not require semantically interpretable brain representations either.Simulated neural networks exhibit crucial structural features of the intentional arc, and Walter Freeman's account of the brain dynamics underlying perception and action is structurally isomorphic with Merleau-Ponty's account of the way a skilled agent is led by the situation to move towards obtaining a maximal grip. (shrink)

Existential phenomenologists hold that the two most basic forms of intelligent behavior, learning, and skillful action, can be described and explained without recourse to mind or brain representations. This claim is expressed in two central notions in Merleau-Ponty's Phenomenology of Perception: the intentional arc and the tendency to achieve a maximal grip. The intentional arc names the tight connection between body and world, such that, as the active body acquires skills, those skills are stored, not as representations in the mind, (...) but as dispositions to respond to the solicitations of situations in the world. A phenomenology of skill acquisition confirms that, as one acquires expertise, the acquired know-how is experienced as finer and finer discriminations of situations paired with the appropriate response to each. Maximal grip names the body's tendency to refine its responses so as to bring the current situation closer to an optimal gestalt. Thus, successful learning and action do not require propositional mental representations. They do not require semantically interpretable brain representations either.Simulated neural networks exhibit crucial structural features of the intentional arc, and Walter Freeman's account of the brain dynamics underlying perception and action is structurally isomorphic with Merleau-Ponty's account of the way a skilled agent is led by the situation to move towards obtaining a maximal grip. (shrink)

in Jeremy McKenna (ed), At the Boundaries of Cricket, to be published in 2007 as a special issue of the journal Sport in Society and as a book in the series Sport in the Global Society (Taylor and Francis).

How do concert pianists commit to memory the structure of a piece of music like Bach’s Italian Concerto, learning it well enough to remember it in the highly charged setting of a crowded performance venue, yet remaining open to the freshness of expression of the moment? Playing to this audience, in this state, now, requires openness to specificity, to interpretation, a working dynamicism that mere rote learning will not provide. Chaffin, Imreh and Crawford’s innovative and detailed research suggests that the (...) key to this skill is a declarative mental roadmap aiding musical performance. This hypothesis is neatly and unintentionally summarized by professional pianist Imreh, who states when learning a new piece of music “My fingers were playing the notes just fine. The practice I needed was in my head. I had to learn to keep track of where I was. It was a matter of learning exactly what I needed to be thinking of as I played, and at exactly what point. (shrink)