This chapter aims at investigating the phenomenology of joint action and at gaining a better understanding of (1) how the sense of agency one experiences when engaged in a joint action differs from the sense of agency one has for individual actions and (2) how the sense of agency one experiences when engaged in a joint action differs according to the type of joint action and to the role one plays in it.

Three experiments examined whether the mere priming of potential action effects enhances people’s feeling of causing these effects when they occur. In a computer task, participants and the computer independently moved a rapidly moving square on a display. Participants had to press a key, thereby stopping the movement. However, the participant or the computer could have caused the square to stop on the observed position, and accordingly, the stopped position of the square could be conceived of as the potential effect (...) resulting from participants’ action of pressing the stop key. The location of this position was primed or not just before participants had to stop the movement. Results showed that priming of the position enhanced experienced authorship of stopping the square. Additional experimentation demonstrated that this priming of agency was not mediated by the goal or intention to produce the effect. (shrink)

Research on the phenomenology of agency for joint action has so far focused on the sense of agency and control in joint action, leaving aside questions on how it feels to act together. This paper tries to fill this gap in a way consistent with the existing theories of joint action and shared emotion. We first reconstruct Pacherie’s account on the phenomenology of agency for joint action, pointing out its two problems, namely the necessary trade-off between the sense of self- (...) and we-agency; and the lack of affective phenomenology of joint action in general. After elaborating on these criticisms based on our theory of shared emotion, we substantiate the second criticism by discussing different mechanisms of shared affect—feelings and emotions—that are present in typical joint actions. We show that our account improves on Pacherie’s, first by introducing our agentive model of we-agency to overcome her unnecessary dichotomy between a sense of self- and we-agency, and then by suggesting that the mechanisms of shared affect enhance not only the predictability of other agents’ actions as Pacherie highlights, but also an agentive sense of we-agency that emerges from shared emotions experienced in the course and consequence of joint action. (shrink)

A wide range of countries decided to go into lockdown to contain the coronavirus disease (COVID-19) pandemic of 2020, a setting separating people and restricting their movements. We investigated how musicians dealt with this sudden restriction in mobility. Responses of 234 people were collected. The majority of respondents (95%) resided in Belgium or the Netherlands. Results indicated a decrease of 79% of live music making in social settings during lockdown compared with before lockdown. In contrast, an increase of 264% was (...) demonstrated for online joint music making. However, results showed that most respondents were largely or even completely unaccustomed with specialized platforms for online joint music making (e.g., JamKazam, Jamulus). Respondents reported to mostly use well-known video-conferencing platforms such as Zoom and Skype when playing together virtually. However, when such video-conferencing platforms were used, they were often not employed for synchronized playing and were generally reported to insufficiently deal with latency issues. Furthermore, respondents depending on music making as their main source of income explored online real-time methods significantly more than those relying on other income sources. Results also demonstrated an increase of 93% in the use of alternative remote joint music-making methods (e.g., recording parts separately and subsequently circulating these digital recordings). All in all, results of this study provide a more in-depth view on joint music making during the first weeks of lockdown induced by the COVID-19 pandemic of 2020, and demonstrate users’ perceptions of performance and usability of online real-time platforms as well as alternative methods for musical interaction. (shrink)