The Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience.

The question has long confounded philosophers and scientists, and it is this so-called explanatory gap between biological life and consciousness that Evan ...

Second, this collection of cognitive programs evolved in the Pleistocene to solve the adaptive problems regularly faced by our hunter-gatherer ancestors-...

In this book, Daniel Hutto and Erik Myin promote the cause of a radically enactive, embodied approach to cognition that holds that some kinds of minds -- basic minds -- are neither best explained by processes involving the manipulation of ...

A provocative assessment of human thought and behavior, reissued with a new afterword, explores a range of conundrums from the ability of the mind to perceive three dimensions to the nature of consciousness, in an account that draws on ...

Paul E. Griffiths argues that most research on the emotions has been as misguided as Aristotelian efforts to study "superlunary objects" - objects...

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)

The publication of this book is an event in the making. All over the world scientists, psychologists, and philosophers are waiting to read Antonio Damasio's new theory of the nature of consciousness and the construction of the self. A renowned and revered scientist and clinician, Damasio has spent decades following amnesiacs down hospital corridors, waiting for comatose patients to awaken, and devising ingenious research using PET scans to piece together the great puzzle of consciousness. In his bestselling Descartes' Error, Damasio (...) revealed the critical importance of emotion in the making of reason. Building on this foundation, he now shows how consciousness is created. Consciousness is the feeling of what happens-our mind noticing the body's reaction to the world and responding to that experience. Without our bodies there can be no consciousness, which is at heart a mechanism for survival that engages body, emotion, and mind in the glorious spiral of human life. A hymn to the possibilities of human existence, a magnificent work of ingenious science, a gorgeously written book, The Feeling of What Happens is already being hailed as a classic. (shrink)

The Modularity of Mind proposes an alternative to the or view of cognitive architecture that has dominated several decades of cognitive science. Whereas interactionism stresses the continuity of perceptual and cognitive processes, modularity theory argues for their distinctness. It is argued, in particular, that the apparent plausibility of New Look theorizing derives from the failure to distinguish between the (correct) claim that perceptual processes are inferential and the (dubious) claim that they are unencapsidated, that is, that they are arbitrarily sensitive (...) to the organism's beliefs and desires. In fact, according to modularity theory, perceptual processes are computationally isolated from much of the background knowledge to which cognitive processes have access. The postulation of autonomous, domain-specific psychological mechanisms underlying perceptual integration connects modularity theory with the tradition of faculty psychology, in particular, with the work of Franz Joseph Call. Some of these historical affinities, and some of the relations between faculty psychology and Cartesianism, are discussed in the book. (shrink)

This book presents the framework for a new, comprehensive approach to cognitive science. The proposed paradigm, enaction, offers an alternative to cognitive science's classical, first-generation Computational Theory of Mind. _Enaction_, first articulated by Varela, Thompson, and Rosch in _The Embodied Mind_, breaks from CTM's formalisms of information processing and symbolic representations to view cognition as grounded in the sensorimotor dynamics of the interactions between a living organism and its environment. A living organism enacts the world it lives in; its embodied (...) action in the world constitutes its perception and thereby grounds its cognition. _Enaction_ offers a range of perspectives on this exciting new approach to embodied cognitive science. Some chapters offer manifestos for the enaction paradigm; others address specific areas of research, including artificial intelligence, developmental psychology, neuroscience, language, phenomenology, and culture and cognition. Three themes emerge as testimony to the originality and specificity of enaction as a paradigm: the relation between first-person lived experience and third-person natural science; the ambition to provide an encompassing framework applicable at levels from the cell to society; and the difficulties of reflexivity. Taken together, the chapters offer nothing less than the framework for a far-reaching renewal of cognitive science. Contributors: Renaud Barbaras, Didier Bottineau, Giovanna Colombetti, Diego Cosmelli, Hanne De Jaegher, Ezequiel A. Di Paolo. Andreas K. Engel, Olivier Gapenne, Véronique Havelange, Edwin Hutchins, Michel Le Van Quyen, Rafael E. Núñez, Marieke Rohde, Benny Shanon, Maxine Sheets-Johnstone, Adam Sheya, Linda B. Smith, John Stewart, Evan Thompson. (shrink)

When a chimpanzee stockpiles rocks as weapons or when a frog sends out mating calls, we might easily assume these animals know their own motivations--that they use the same psychological mechanisms that we do. But as Beyond the Brain indicates, this is a dangerous assumption because animals have different evolutionary trajectories, ecological niches, and physical attributes. How do these differences influence animal thinking and behavior? Removing our human-centered spectacles, Louise Barrett investigates the mind and brain and offers an alternative approach (...) for understanding animal and human cognition. Drawing on examples from animal behavior, comparative psychology, robotics, artificial life, developmental psychology, and cognitive science, Barrett provides remarkable new insights into how animals and humans depend on their bodies and environment--not just their brains--to behave intelligently. Barrett begins with an overview of human cognitive adaptations and how these color our views of other species, brains, and minds. Considering when it is worth having a big brain--or indeed having a brain at all--she investigates exactly what brains are good at. Showing that the brain's evolutionary function guides action in the world, she looks at how physical structure contributes to cognitive processes, and she demonstrates how these processes employ materials and resources in specific environments. Arguing that thinking and behavior constitute a property of the whole organism, not just the brain, Beyond the Brain illustrates how the body, brain, and cognition are tied to the wider world. (shrink)

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

For many years emotion theory has been characterized by a dichotomy between the head and the body. In the golden years of cognitivism, during the nineteen-sixties and seventies, emotion theory focused on the cognitive antecedents of emotion, the so-called “appraisal processes.” Bodily events were seen largely as byproducts of cognition, and as too unspecific to contribute to the variety of emotion experience. Cognition was conceptualized as an abstract, intellectual, “heady” process separate from bodily events. Although current emotion theory has moved (...) beyond this disembodied stance by conceiving of emotions as involving both cognitive processes (perception, attention, and evaluation) and bodily events (arousal, behavior, and facial expressions), the legacy of cognitivism persists in the tendency to treat cognitive and bodily events as separate constituents of emotion. Thus the cognitive aspects of emotion are supposedly distinct and separate from the bodily ones. This separation indicates that cognitivism’s disembodied conception of cognition continues to shape the way emotion theorists conceptualize emotion. (shrink)

The position advanced in this paper is that the bedrock of emotional feelings is contained within the evolved emotional action apparatus of mammalian brains. This dual-aspect monism approach to brain–mind functions, which asserts that emotional feelings may reflect the neurodynamics of brain systems that generate instinctual emotional behaviors, saves us from various conceptual conundrums. In coarse form, primary process affective consciousness seems to be fundamentally an unconditional “gift of nature” rather than an acquired skill, even though those systems facilitate skill (...) acquisition via various felt reinforcements. Affective consciousness, being a comparatively intrinsic function of the brain, shared homologously by all mammalian species, should be the easiest variant of consciousness to study in animals. This is not to deny that some secondary processes cannot be evaluated in animals with sufficiently clever behavioral learning procedures, as with place-preference procedures and the analysis of changes in learned behaviors after one has induced re-valuation of incentives. Rather, the claim is that a direct neuroscientific study of primary process emotional/affective states is best achieved through the study of the intrinsic , albeit experientially refined, emotional action tendencies of other animals. In this view, core emotional feelings may reflect the neurodynamic attractor landscapes of a variety of extended trans-diencephalic, limbic emotional action systems—including SEEKING, FEAR, RAGE, LUST, CARE, PANIC, and PLAY. Through a study of these brain systems, the neural infrastructure of human and animal affective consciousness may be revealed. Emotional feelings are instantiated in large-scale neurodynamics that can be most effectively monitored via the ethological analysis of emotional action tendencies and the accompanying brain neurochemical/electrical changes. The intrinsic coherence of such emotional responses is demonstrated by the fact that they can be provoked by electrical and chemical stimulation of specific brain zones—effects that are affectively laden. For substantive progress in this emerging research arena, animal brain researchers need to discuss affective brain functions more openly. Secondary awareness processes, because of their more conditional, contextually situated nature, are more difficult to understand in any neuroscientific detail. In other words, the information-processing brain functions, critical for cognitive consciousness, are harder to study in other animals than the more homologous emotional/motivational affective state functions of the brain. (shrink)

The enactive approach offers a distinctive view of how mental life relates to bodily activity at three levels: bodily self-regulation, sensorimotor coupling, and intersubjective interaction. This paper concentrates on the second level of sensorimotor coupling. An account is given of how the subjectively lived body and the living body of the organism are related via dynamic sensorimotor activity, and it is shown how this account helps to bridge the explanatory gap between consciousness and the brain. Arguments by O'Regan, Noë, and (...) Myin that seek to account for the phenomenal character of perceptual consciousness in terms of ‘bodiliness’ and ‘grabbiness’ are considered. It is suggested that their account does not pay sufficient attention to two other key aspects of perceptual phenomenality: the autonomous nature of the experiencing self or agent, and the pre-reflective nature of bodily self-consciousness. (shrink)

As an alternative to using the concepts of emotion, fear, anger, and the like as scientific tools, this article advocates an approach based on the concepts of core affect and psychological construction, expanding the domain of inquiry beyond “emotion”. Core affect is a neurophysiological state that underlies simply feeling good or bad, drowsy or energised. Psychological construction is not one process but an umbrella term for the various processes that produce: (a) a particular emotional episode's “components” (such as facial movement, (...) vocal tone, peripheral nervous system change, appraisal, attribution, behaviour, subjective experience, and emotion regulation); (b) associations among the components; and (c) the categorisation of the pattern of components as a specific emotion. (shrink)

Beginning with the view that human consciousness is essentially embodied and that the way we consciously experience the world is structured by our bodily dynamics and surroundings, the book argues that emotions are a fundamental manifestation of our embodiment, and play a crucial role in self-consciousness, moral evaluation, and social cognition.

The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic (...) interactivity between an organism and its environment. More recently, this perspective has been applied to the study of emotion in general, opening up interesting new possibilities for theory and research. This new approach, however, has received rather limited attention in musical contexts. With this in mind, we critically review the history of music and emotion studies, arguing that many existing theories offer only limited views of what musical-emotional experience entails. We then attempt to provide preliminary grounding for an alternative perspective on music and emotion based on the enactive/dynamic systems approach to the study of mind. (shrink)

Viewing emotion from an evolutionary perspective, researchers have argued that simple responses to affective stimuli can be triggered without mediation of cognitive processes. Indeed, findings suggest that positively and negatively valenced stimuli trigger approach and avoidance movements automatically. However, affective stimulus–response compatibility phenomena share so many central characteristics with nonaffective stimulus–response compatibility phenomena that one may doubt whether the underlying mechanisms differ. We suggest an “affectively enriched” version of the theory of event coding (TEC) that is able to account for (...) both affective and nonaffective compatibility, and that can account for the observation that both types of compatibility seem to be modulated by goals and intentions. Predictions from the model are tested in an experiment where participants carried out approach and avoidance responses to either the valence or the orientation of emotionally charged pictures. Under affective instruction the positive-approach/negative-avoid mapping yielded faster responses than the positive-avoid/negative-approach mapping, but no such effect was observed under spatial instruction. Conversely, spatial compatibility effects were obtained under spatial, but not under affective instruction. We conclude that affective and nonaffective compatibility effects reflect the same mechanism. (shrink)

This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...) are positive, pleasurable, consummatory emotions—emotions of appreciation—which are noninstrumental and which take as their intentional objects the intrinsic qualities of an artwork, more particularly, its formal interrelationships and the way that the overall formal structure of an artwork molds its content. (shrink)

This article argues for an epistemology of music, stating that dealing with music can be considered as a process of knowledge acquisition. What really matters is not the representation of an ontological musical reality, but the generation of music knowledge as a tool for adaptation to the sonic world. Three major positions are brought together: the epistemological claims of Jean Piaget, the biological methodology of Jakob von Uexküll, and the constructivistic conceptions of Ernst von Glasersfeld, each ingstress the role of (...) the music user rather than the music. Dealing with music, in this view, is not a matter of representation, but a process of semiotization of the sonorous environment as the outcome of interactions with the sound. Hence the role of enactive cognition and perceptual-motor interaction with the sonic environment. What is considered a central issue is the way how listeners as subjects experience their own phenomenal world or Umwelt, and how they can make sense out of their sonic environment. Umwelt-research, therefore, is highly relevant for music education in stressing the role of the listener and his/her listening strategies. (shrink)

From my Consciousness in Action, ch. 2; see Consciousness in Action for bibligraphy. This chapter revises material from "Kant on Spontaneity and the Myth of the Giving", Proceedings of the Aristotelian Society, 1993-94, pp. 137-164, and "Myth Upon Myth", Proceedings of the Aristotelian Society, 1996, vol. 96, pp. 253-260.

There exists substantial cultural variation in how emotions are expressed, but there is also considerable evidence for universal properties in facial and vocal affective expressions. This is the first empirical effort examining the perception of vocal emotional expressions across cultures with little common exposure to sources of emotion stimuli, such as mass media. Shuar hunter-horticulturalists from Amazonian Ecuador were able to reliably identify happy, angry, fearful and sad vocalizations produced by American native English speakers by matching emotional spoken utterances to (...) emotional expressions portrayed in pictured faces. The Shuar performed similarly to English speakers who heard the same utterances in a content-filtered condition. These data support the hypothesis that vocal emotional expressions of basic affective categories manifest themselves in similar ways across quite disparate cultures. (shrink)

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 (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

I address the questions of whether cognitive methods are suited to the study of emotion, and whether they are suited to the study of the unique aspect of emotion. Based on a definition of cognitive processes as those that mediate between variable input–output relations by means of representations, and the observation that the relation between stimuli and emotions is often variable, I argue that cognition is often involved in emotion and that cognitive methods are suited to study them. I further (...) propose that the unique feature of emotion has to do with the content of the representations involved in the transition from stimulus input to emotion. Emotions are elicited when stimuli contain information about the satisfaction status of goals (i.e., when they are goal relevant). Given that cognitive methods are fit to study any representation-mediated process regardless of their content, they can a fortiori be used to study a process that operates on representations with goal-relevant content. I compare this process to processes that have no or a different relation to goals, including the process that deals with purely valenced information. (shrink)

We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.

Influential theories on affect and emotion propose a fundamental differentiation between emotion and cognition, and research paradigms designed to test them focus on differences rather than similarities between affective and cognitive processes. This research orientation is increasingly challenged by the widespread and successful use of cognitive research paradigms in the study of affect and emotion—a challenge with far-reaching implications. Where and on what basis should theorists draw the line between cognition and emotion, and when is it useful to do so? (...) Should researchers build more global, integrative models of cognition and emotion, or should they rely on local, content-specific models that draw attention to a differentiation between affective and cognitive processes? This special issue compiles different viewpoints on fundamental issues in the relationship between affect and cognition. (shrink)

Our likes and dislikes--our senses and sensibilities--did not fall ready-made from the sky, argues internationally acclaimed author John D. Barrow. We know we enjoy a beautiful painting or a passionate symphony, but what we don't necessarily understand is that these experiences conjure up latent instincts laid down and perpetuated over millions of years. Now, in The Artful Universe, Barrow explores the close ties between our aesthetic appreciation and the basic nature of the Universe, challenging the commonly held view that our (...) sense of beauty is entirely free and unfettered. Barrow argues that the laws of the Universe, its environments and its astronomical appearance, have imprinted themselves upon our thoughts and actions in subtle and unexpected ways. Why do we like certain types of art or music? What games and puzzles do we find challenging? Why do so many myths and legends have common elements? Who created the cornucopia of constellations in the night sky? And why? In this eclectic and entertaining survey, Barrow answers these questions and more as he explains how the landscape of the Universe has influenced the development of philosophy and mythology, and how millions of years of evolutionary history have fashioned our attraction to certain patterns of sound and color. Barrow casts the story of human creativity and thought in a fascinating light, considering such diverse topics as our instinct for language, the origins and uses of color in Nature, why we divide time into intervals as we do, the sources of our appreciation of landscape painting, and whether computer-generated fractal art is really art. Barrow reconsiders the question of whether intelligent extraterrestrial life exists, showing that the benefits (and even the likelihood) that might follow from the discovery of life on other worlds could be very different from what we might have been led to expect. Remarkably, we find that some of the properties of the Universe that are essential for the existence of any form of life play a key role in determining psychological and religious responses to the Cosmos. Drawing on a wide variety of examples, from the theological questions raised by St. Augustine and C.S. Lewis to the relationship between the pure math of Pythagoras and the music of the Beatles, The Artful Universe covers new ground and enters a wide-ranging debate about the meaning and significance of the links between art and science. It will change our view of the creation of art and the way we see the world in which we live. (shrink)

Evolutionary psychology often does not sufficiently document the innate constraint and domain specificity required for strong adaptationist argument. We develop these criteria within the domain of music. First, we advocate combining computational, developmental, cross-cultural, and neuroscience research to address the ways in which a domain is innately constrained. Candidate constraints in music include the importance of the octave and other simple pitch ratios, the categorization of the octave into tones, the importance of melodic contour, tonal hierarchies, and principles of grouping (...) and meter. Second, we advocate combining psychological, neuroscience, and genetic research across cognitive domains to address the domain specificity of such constraints. Currently available evidence suggests that the innate constraints in music are not specific to that domain, making it unclear which domain(s) provided the relevant selection pressures. (shrink)

Brain evolution is a complex weave of species similarities and differences, bound by diverse rules and principles. This book is a detailed examination of these principles, using data from a wide array of vertebrates but minimizing technical details and terminology. It is written for advanced undergraduates, graduate students, and more senior scientists who already know something about “the brain,” but want a deeper understanding of how diverse brains evolved. The book's central theme is that evolutionary changes in absolute brain size (...) tend to correlate with many other aspects of brain structure and function, including the proportional size of individual brain regions, their complexity, and their neuronal connections. To explain these correlations, the book delves into rules of brain development and asks how changes in brain structure impact function and behavior. Two chapters focus specifically on how mammal brains diverged from other brains and how Homo sapiens evolved a very large and “special” brain. Key Words: basal ganglia; cladistics; development; hippocampus; homology; lamination; mammal; neocortex; neuromere; parcellation; primate. (shrink)