The emerging consensus in the philosophy of cognition is that cognition is situated, i.e., dependent upon or co-constituted by the body, the environment, and/or the embodied interaction with it. But what about emotions? If the brain alone cannot do much thinking, can the brain alone do some emoting? If not, what else is needed? Do (some) emotions (sometimes) cross an individual's boundary? If so, what kinds of supra-individual systems can be bearers of affective states, and why? And does that make (...) emotions ?embedded? or ?extended? in the sense cognition is said to be embedded and extended? Section 2 shows why it is important to understand in which sense body, environment, and our embodied interaction with the world contribute to our affective life. Section 3 introduces some key concepts of the debate about situated cognition. Section 4 draws attention to an important disanalogy between cognition and emotion with regard to the role of the body. Section 5 shows under which conditions a contribution by the environment results in non-trivial cases of ?embedded? emotions. Section 6 is concerned with affective phenomena that seem to cross the organismic boundaries of an individual, in particular with the idea that emotions are ?extended? or ?distributed.? (shrink)

There is no question, of course, that music is a temporal art. Stravinsky, noting that it is inconceivable apart from the elements of sound and time, classifies it quite simply as "a certain organization in time, a chrononomy."1 His definition stands as part of a long and honored tradition that encompasses such diverse figures as Racine, Lessing, and Schopenhauer. Schopenhauer, putting the case in its strongest terms, remarks that music is "perceived solely in and through time, to the complete exclusion (...) of space," thus making explicit the opposition between time and space and ruling out the latter as a possible area for legitimate musical experience. Yet anyone familiar with the philosophical and theoretical literature dealing with music must be struck by the persistence with which spatial terminology and categories appear. Indeed, it would seem to be impossible to talk about music at all without invoking spatial notions of one kind or another. Thus in discussing even the most elementary aspects of pitch organization—and among the musical elements, only pitch, we should remember, is uniquely musical—one finds it necessary to rely upon such spatially oriented oppositions as "up and down," "high and low," "small and large" , and so on. Space, then, pace Schopenhauer, apparently forms an inseparable part of the musical experience. · 1. Igor Stravinsky, Poetics of Music in the Form of Six Lessons, trans, Arthur Knodel and Ingolf Dahl , p. 28. Robert P. Morgan is active as both a music composer and theorist. A professor of music at the University of Chicago, he is currently composing a concerto for flute, oboe, and string orchestra to be performed at Swarthmore College. His previous contribution to Critical Inquiry, "On the Analysis of Recent Music," appeared in the Autumn 1977 issue. Anthony Gilbert responds to the current essay in "Musical Space: A Composer's View". (shrink)

Much recent work on empathy in philosophy of mind and cognitive science has been guided by the assumption that minds are composed of intracranial phenomena, perceptually inaccessible and thus unobservable to everyone but their owners. I challenge this claim. I defend the view that at least some mental states and processes—or at least some parts of some mental states and processes—are at times visible, capable of being directly perceived by others. I further argue that, despite its initial implausibility, this view (...) receives robust support from several strands of empirical research. (shrink)

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

The thesis of the extended mind (ExM) holds that the material underpinnings of an individual’s mental states and processes need not be restricted to those contained within biological boundaries: when conditions are right, material artefacts can be incorporated by the thinking subject in such a way as to become a component of her extended mind. Up to this point, the focus of this approach has been on phenomena of a distinctively cognitive nature, such as states of dispositional belief, and processes (...) of planning and calculation. In this paper, we aim to expand the scope of ExM by considering the case for extended affectivity. We begin by clarifying the central commitments of ExM, before investigating its applicability to a range of affective phenomena, both dispositional and occurrent. We argue that proponents of ExM should also accept that the vehicles of emotions, moods, sentiments, temperaments, and character traits can extend beyond skull and skin. (shrink)

Where does the mind stop and the rest of the world begin? The question invites two standard replies. Some accept the demarcations of skin and skull, and say that what is outside the body is outside the mind. Others are impressed by arguments suggesting that the meaning of our words "just ain't in the head", and hold that this externalism about meaning carries over into an externalism about mind. We propose to pursue a third position. We advocate a very different (...) sort of externalism: an _active externalism_, based on the active role of the environment in driving cognitive processes. (shrink)

Hurley’s is a difficult book to work through—partly because of its length and the complexity of its arguments, but also because each of the ten essays of which it is composed has a rather different starting point and focus, and because few of her arguments achieve real closure. Essay 2 discusses competing interpretations of Kant, essay 4 articulates nonconceptual forms of self-consciousness, essay 5 offers fresh interpretations of commissurotomy patients’ behavior, essay 6 develops an objection to Wittgenstein on rule following, (...) essay 8 attacks an alleged assumption of externalism, and chapter 10 explores the possibility of combining a “motor theory” and a “control theory” of perception. This is a very rich brew, and at least half the challenge this book presents consists in discerning its central argument and conclusion with enough precision to bring criticism to bear. (shrink)

David McNeill, a pioneer in the ongoing study of the relationship between gesture and language, here argues that gestures are active participants in both speaking and thinking. He posits that gestures are key ingredients in an “imagery-language dialectic” that fuels speech and thought. The smallest unit of this dialectic is the growth point, a snapshot of an utterance at its beginning psychological stage. In _Gesture and Thought,_ the central growth point comes from a Tweety Bird cartoon. Over the course of (...) twenty-five years, the McNeill Lab showed this cartoon to numerous subjects who spoke a variety of languages, and a fascinating pattern emerged. The shape and timing of gestures depends not only on what speakers see but on what they take to be distinctive; this, in turn, depends on the context. Those who remembered the same context saw the same distinctions and used similar gestures; those who forgot the context understood something different and changed gestures or used none at all. Thus, the gesture becomes part of the growth point—the building block of language and thought. _Gesture and Thought _is an ambitious project in the ongoing study of how we communicate and how language is connected to thought. (shrink)

There is a new way of thinking about the mind that does not locate mental processes exclusively "in the head." Some think that this expanded conception of the mind will be the basis of a new science of the mind. In this book, leading philosopher Mark Rowlands investigates the conceptual foundations of this new science of the mind. The new way of thinking about the mind emphasizes the ways in which mental processes are embodied, embedded, enacted, and extended. The new (...) way of thinking about the mind, Rowlands writes, is actually an old way of thinking that has taken on new form. Rowlands describes a conception of mind that had its clearest expression in phenomenology -- in the work of Husserl, Heidegger, Sartre, and Merleau-Ponty. He builds on these views, clarifies and renders consistent the ideas of embodied, embedded, enacted, and extended mind, and develops a unified philosophical treatment of the novel conception of the mind that underlies the new science of the mind. (shrink)

This book aims to pinpoint the connection feelings have with behaviour - a connection that, while clear, has never been fully explained. Following William James, Laird argues that feelings are not the cause of behavior but rather its consequences; the same goes for behaviour and motives and behaviour and attitudes. He presents research into feelings across the spectrum, from anger to joy to fear to romantic love, that support this against-the-grain view. Laird discusses the problem of common sense, self-perception theory, (...) the association between feelings and higher cognitive processes, and also the literature on facial expression, posture, and gaze. (shrink)

This book focuses on externalist approaches to art. It is the first fruit of a workshop held in Milan in September 2009, where leading scholars in the emerging field of psychology of art compared their different approaches using a neutral language and discussing freely their goals. The event threw up common grounds for future research activities. First, there is a considerable interest in using cognitive and neural inspired techniques to help art historians, museum curators, art archiving, art preservation. Secondly, cognitive (...) scientists and neuroscientists are rather open to using art as a special way of accessing the structures of the mind. Third, there are artists who explicitly draw inspiration out of current research on various aspects of the mind. Fourth, during the workshop, a converging methodological paradigm emerged around which more specific efforts could be encouraged. (shrink)

Leading scholars respond to the famous proposition by Andy Clark and David Chalmers that cognition and mind are not located exclusively in the head.

In Gesture and Thought he brings together years of this research, arguing that gesturing, an act which has been popularly understood as an accessory to speech, ...

In this important book, Susan Hurley sheds new light on consciousness by examining its relationships to action from various angles. She assesses the role of agency in the unity of a conscious perspective, and argues that perception and action are more deeply interdependent than we usually assume. A standard view conceives perception as input from world to mind and action as output from mind to world, with the serious business of thought in between. Hurley criticizes this picture, and considers how (...) the interdependence of perceptual experience and agency at the personal level (of mental contents and norms) may emerge from the subpersonal level (of underlying causal processes and complex dynamic feedback systems). Her two-level view has wide implications, for topics that include self-consciousness, the modularity of mind, and the relations of mind to world. The self no longer lurks hidden somewhere between perceptual input and behavioral output, but reappears out in the open, embodied and embedded in its environment. Hurley traces these themes from Kantian and Wittgensteinian arguments through to intriguing recent work in neuropsychology and in dynamic systems approaches to the mind, providing a bridge from mainstream philosophy to work in other disciplines. Consciousness in Action is unique in the range of philosophical and scientific work it draws on, and in the deep criticism it offers of centuries-old habits of thought. (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)

Vision constitutes an interesting domain, or range of domains, for debate over the extended mind thesis, the idea that minds physically extend beyond the boundaries of the body. In part this is because vision and visual experience more particularly are sometimes presented as a kind of line in the sand for what we might call externalist creep about the mind: once all reasonable concessions have been made to externalists about the mind, visual experience marks a line beyond which lies a (...) safe haven for individualists. Here I want to put a little more pressure on such a view of visual experience, as well as to offer a more constructive, positive argument in defense of the idea of extended vision. (shrink)

This chapter offers the beginning of an enactive account of auditory experience—particularly the experience of listening sensitively to music. It investigates how sensorimotor regularities grant perceptual access to music qua music. Two specific claims are defended: (1) music manifests experientially as having complex spatial content; (2) sensorimotor regularities constrain this content. Musical content is thus brought to phenomenal presence by bodily exploring structural features of music. We enact musical content.

For most people a sense of self includes an embodied component: when describing our selves we describe those aspects of our physical bodies which can be easily codified: height, hair colour, sex, eye colour. Even when we consider ourselves we tend not to consider our intellectual cognitive characteristics but our describable anatomy. Wittgenstein's dictum, ‘the human body is the best picture of the human soul’, is relevant here but I would like to go further: the body-part we feel most embodied (...) in is our face, even though it is difficult to describe and so forms little part of how we describe ourselves to others. (shrink)