As yet, there is no enactive account of social cognition. This paper extends the enactive concept of sense-making into the social domain. It takes as its departure point the process of interaction between individuals in a social encounter. It is a well-established finding that individuals can and generally do coordinate their movements and utterances in such situations. We argue that the interaction process can take on a form of autonomy. This allows us to reframe the problem of social cognition as (...) that of how meaning is generated and transformed in the interplay between the unfolding interaction process and the individuals engaged in it. The notion of sense-making in this realm becomes participatory sense-making. The onus of social understanding thus moves away from strictly the individual only. (shrink)

An important shift is taking place in social cognition research, away from a focus on the individual mind and toward embodied and participatory aspects of social understanding. Empirical results already imply that social cognition is not reducible to the workings of individual cognitive mechanisms. To galvanize this interactive turn, we provide an operational definition of social interaction and distinguish the different explanatory roles – contextual, enabling and constitutive – it can play in social cognition. We show that interactive processes are (...) more than a context for social cognition: they can complement and even replace individual mechanisms. This new explanatory power of social interaction can push the field forward by expanding the possibilities of scientific explanation beyond the individual. (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)

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.

There is a growing realization in cognitive science that a theory of embodied intersubjectivity is needed to better account for social cognition. We highlight some challenges that must be addressed by attempts to interpret ‘simulation theory’ in terms of embodiment, and argue for an alternative approach that integrates phenomenology and dynamical systems theory in a mutually informing manner. Instead of ‘simulation’ we put forward the concept of the ‘extended body’, an enactive and phenomenological notion that emphasizes the socially mediated nature (...) of embodiment. To illustrate the explanatory potential of this approach, we replicate an agent-based model of embodied social interaction. An analysis of the model demonstrates that the extended body can be explained in terms of mutual dynamical entanglement: inter-bodily resonance between individuals can give rise to self-sustaining interaction patterns that go beyond the behavioral capacities of isolated individuals by modulating their intra-bodily conditions of behavior generation. (shrink)

This article examines how aesthetics became a branch of psychology during the early modern period in which new references to taste, perfection, and harmony reinforced the emphasis on personal experience and judgement that was common to the natural and the human sciences of the period. During this period the debates in art theory centred on questions of the legitimacy of artistic innovations in style and genre, and were based on interpretations of the ancient texts of rhetoric and poetics. It discusses (...) the factors that contributed to the development of aesthetics, the question of aesthetics prior to the eighteenth century, and the post-Kantian distinction between the tasks of rhetoric and those of aesthetics. (shrink)