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Switch to: Citations
References in:
Musical Manipulations and the Emotionally Extended Mind
Empirical Musicology Review 9 (3-4):208-212 (2014)
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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 (...) |
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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 (...) |
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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, (...) |
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Leading scholars respond to the famous proposition by Andy Clark and David Chalmers that cognition and mind are not located exclusively in the head. Where does the mind stop and the rest of the world begin? In their famous 1998 paper "The Extended Mind," philosophers Andy Clark and David J. Chalmers posed this question and answered it provocatively: cognitive processes "ain't all in the head." The environment has an active role in driving cognition; cognition is sometimes made up of neural, (...) |
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This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) |
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This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) |
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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 (...) |
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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. |
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Leading scholars respond to the famous proposition by Andy Clark and David Chalmers that cognition and mind are not located exclusively in the head. |
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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 (...) |
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In treating cognition as problem solving, Andy Clark suggests, we may often abstract too far from the very body and world in which our brains evolved to guide... |
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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 (...) |
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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 (...) |
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Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between the auditory (...) |
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