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)

Discusses the phenomenological foundations for qualitative research in psychology which operates out of the intersection of phenomenological philosophy, science, and psychology; challenges long-standing assumptions about the practice of grounding the science of psychology in empiricism and asserts that the broader philosophy of phenomenological theory of science permits more adequate psychological development"--Provided by publisher.

How does thinking affect doing? There is a widely held view that thinking about what you are doing, as you are doing it, hinders performance. Once you have acquired the ability to putt a golf ball, play an arpeggio on the piano, or parallel-park, reflecting on your actions leads to inaccuracies, blunders, and sometimes even utter paralysis--that's what is widely believed. But is it true? After exploring some of the contemporary and historical manifestations of the idea, Barbara Gail Montero develops (...) a theory of expertise which emphasizes the role of the conscious mind in expert action. She aims to dispel various myths about experts who proceed without any understanding of what guides their action, and she analyzes research in both philosophy and psychology that is taken to show that conscious control and explicit monitoring of one's movements impedes well practiced skills. Montero explores a wide range of real-life examples of optimal performance, in sports, the performing arts, healthcare, the military, and other fields, and draws from psychology, neuroscience, and literature to offer a refreshing and persuasive view of expertise, according to which expert action generally is and ought to be thoughtful, effortful, and reflective. (shrink)

In opposition to traditional forms of dualism and monism, the author holds that our bodily self includes certain aspects of otherness. This is shown concerning the phenomenological issues of intentionality, of self-awareness and of intersubjectivity, by emphasizing the dimension of pathos. We are affected by what happens to us before being able to respond to it by acts or actions. Every sense, myself and others are born out of pathos. The original alienness of our own body, including neurological processes, creates (...) shifting degrees of nearness and remoteness, and allows for pathological deviations such as depersonalisation, paranoia or trauma. Such a phenomenology of body crosses the borderlines of different disciplines. (shrink)

Evan Thompson’s paper has four parts. First, he says more about what he means when he asks, “what is living?” Second, he presents his way of answering this question, which is that living is sense-making in precarious conditions. Third, he responds to Welton’s considerations about what he calls the “affective entrainment” of the living being by the environment. Finally, he addresses Protevi’s remarks about panpsychism.

‘There is no place in the phenomenology of fully absorbed coping’, writes Hubert Dreyfus, ‘for mindfulness. In flow, as Sartre sees, there are only attractive and repulsive forces drawing appropriate activity out of an active body’1. Among the many ways in which history animates dynamical systems at a range of distinctive timescales, the phenomena of embodied human habit, skilful movement, and absorbed coping are among the most pervasive and mundane, and the most philosophically puzzling. In this essay we examine both (...) habitual and skilled movement, sketching the outlines of a multidimensional framework within which the many differences across distinctive cases and domains might be fruitfully understood. Both the range of movement phenomena which can plausibly be seen as instances of habit or skill, and the space of possible theories of such phenomena are richer and more disparate than philosophy easily encompasses. We seek to bring phenomenology into contact with relevant movements in psychological theories of skilful action, in the belief that phenomenological philosophy and cognitive science can be allies rather than antagonists. (shrink)

Experiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings show (...) that art appreciation appears as variations in experiential forms comprised of gratifying experiences of beauty, challenges to the understanding, and bodily-informed alterations of the emotions. The phenomenological psychology of actual, lived experience can embrace the phenomenological theories of art appreciation by Heidegger and Merleau-Ponty, yet highlight the psychological importance of experiences with art. (shrink)

This article presents an interview method which enables us to bring a person, who may not even have been trained, to become aware of his or her subjective experience, and describe it with great precision. It is focused on the difficulties of becoming aware of one’s subjective experience and describing it, and on the processes used by this interview technique to overcome each of these difficulties. The article ends with a discussion of the criteria governing the validity of the descriptions (...) obtained, and then with a brief review of the functions of these descriptions. (shrink)

In recent years, a growing number of thinkers have begun to challenge the long-held view that the mind is neurally realized. One strand of critique comes from work on extended cognition, a second comes from research on embodied cognition, and a third comes from enactivism. I argue that theorists who embrace the claim that the mind is fully embodied and enactive cannot consistently also embrace the extended mind thesis. This is because once one takes seriously the central tenets of enactivism, (...) it becomes implausible to suppose that life, affectivity, and sense-making can extend. According to enactivism, the entities that enact a world of meaning are autonomous, embodied agents with a concerned point of view. Such agents are spatially situated, differentiated from the environment, and intentionally directed towards things that lie at a distance. While the extended mind thesis blurs the distinction between organism and environment, the central tenets of enactivism emphasize differentiations between the two. In addition, enactivism emphasizes that minded organisms are enduring subjects of action and experience, and thus it is implausible to suppose that they transform into a new form of life whenever they become intimately coupled to some new element in their environment. The proponent of enactivism and embodied cognition should acknowledge that life and affectivity are relational and environmentally embedded, but resist the further claim that these phenomena are extended. (shrink)

Empirical and experiential investigations allow the distinction between observational and non-observational forms of subjective bodily experiences. From a first-person perspective, the biological body can be (1) an "opaque body" taken as an intentional object of observational consciousness, (2) a "performative body" pre-reflectively experienced as a subject/agent, (3) a "transparent body" pre-reflectively experienced as the bodily mode of givenness of objects in the external world, or (4) an "invisible body" absent from experience. It is proposed that pre-reflective bodily experiences rely on (...) sensori-motor integrative mechanisms that process information on the external world in a self relative way. These processes are identification-free in that the self is not identified as an object of observation. Moreover, it is defended that observational self-consciousness must be grounded on such identification-free processes and pre-reflective forms of bodily experience. (shrink)

I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...) character. I argue that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea. (shrink)

Research in phenomenology has benefitted from using exceptional cases from pathology and expertise. But exactly how are we to generate and apply knowledge from such cases to the phenomenological domain? As researchers of cerebral palsy and musical absorption, we together answer the how question by pointing to the resource of the qualitative interview. Using the qualitative interview is a direct response to Varela’s call for better pragmatics in the methodology of phenomenology and cognitive science and Gallagher’s suggestion for phenomenology to (...) develop its methodology and outsource its tasks. We agree with their proposals, but want to develop them further by discussing and proposing a general framework that can integrate research paradigms of the well-established disciplines of phenomenological philosophy and qualitative science. We give this the working title, a “phenomenological interview”. First we describe the what of the interview, that is the nature of the interview in which one encounters another subject and generates knowledge of a given experience together with this other subject. In the second part, we qualify why it is worthwhile making the time-consuming effort to engage in a phenomenological interview. In the third and fourth parts, we in general terms discuss how to conduct the interview and the subsequent phenomenological analysis, by discussing the pragmatics of Vermersch’s and Petitmengin’s “Explicitation Interview”. (shrink)

The author explains that his background was in experimental psychology but that he wanted to study the whole person and not fragmented psychological processes. He also desired a non-reductionistic method for studying humans. Fortunately he came across the work of Edmund Husserl and discovered in the latter’s thought a way of researching humans that met the criteria he was seeking. Eventually he developed a phenomenological method for researching humans in a psychological way based upon the work of Husserl and Merleau-Ponty. (...) This article briefly describes the method. (shrink)

A review of several theories and brain-imaging experiments shows that there is no consensus about how to define the sense of agency. In some cases the sense of agency is construed in terms of bodily movement or motor control, in others it is linked to the intentional aspect of action. For some theorists it is the product of higher-order cognitive processes, for others it is a feature of first-order phenomenal experience. In this article I propose a multiple aspects account of (...) the sense of agency. (shrink)

This paper reformulates some of the questions raised by extended mind theorists from an enactive, life/mind continuity perspective. Because of its reliance on concepts such as autopoiesis, the enactive approach has been deemed internalist and thus incompatible with the extended mind hypothesis. This paper answers this criticism by showing (1) that the relation between organism and cogniser is not one of co-extension, (2) that cognition is a relational phenomenon and thereby has no location, and (3) that the individuality of a (...) cogniser is inevitably linked with the question of its autonomy, a question ignored by the extended mind hypothesis but for which the enactive approach proposes a precise, operational, albeit non-functionalist answer. The paper raises a pespective of embedded and intersecting forms of autonomous identity generation, some of which correspond to the canonical cases discussed in the extended mind literature, but on the whole of wider generality. In addressing these issues, this paper proposes unbiased, non-species specific definitions of cognition, agency and mediation, thus filling in gaps in the extended mind debates that have led to paradoxical situations and a problematic over-reliance on intutions about what counts as cognitive. (shrink)

In this urbane and witty book, Ronald de Sousa disputes the widespread notion that reason and emotion are natural antagonists.

In _The Subject of Aesthetics_ Tone Roald develops a psychology of art based on people’s descriptions of their own engagement with visual art.

... Let me start my investigation by taking a brief look at the way in which self-awareness is expressed linguistically, as in the sentences "I am tired" or ...

The ideas presented in this edition were originally presented as lectures that were given between 1904-1910 during which Husserl explored the terrain of consciousness in light of its temporality.

Emotions are essential for human existence, both lighting the way toward the brightest of achievements and setting the course into the darkness of suffering. Not surprisingly, then, emotion research is currently one of the hottest topics in the field of psychology. Yet to divine the nature of emotion is a complex and extensive task. In this book emotions are approached thought an exploration of the nature of cognition in emotion; the nature of thoughts in feelings. Different approaches to emotions are (...) explored, from brain research to research at the level of experience, and it is argued that all approaches must seriously take into account the experiential dimension. A qualitative study of experiences with art is therefore presented, as emotions and cognition are often expressed in experiences with art. It is the first study of its kind. Descriptions of various affective phenomena are then given which have significant implications for contemporary debates about emotions, resolving several contemporary controversies. ContentsAcknowledgementsIntroductionChapter 1: Describing EmotionChapter 2: Describing CognitionChapter 3: Theories about the Emotion-Cognition RelationshipChapter 4: Experiences with ArtChapter 5: A Phenomenological Study of Art AppreciationChapter 6: DiscussionBibliographyIndex. (shrink)

We are even less aware of our internal organs and the physiological processes that keep us alive. In this fascinating work, Drew Leder examines all the ways in which the body is absent—forgotten, alien, uncontrollable, obscured.

A proposal that extends the enactive approach developed in cognitive science and philosophy of mind to issues in affective science.

The book outlines the contribution of passivity to the constitution of phenomena as diverse as temporal syntheses, perceptual associations, memory fulfillment and cross-cultural communication.

"Perception is not something that happens to us, or in us," writes Alva Noe. "It is something we do." In Action in Perception, Noe argues that perception and perceptual consciousness depend on capacities for action and thought — that ...

Christian Lotz shows in this book that Husserl's Phenomenology and its key concept--subjectivity--is based on a concrete anthropological structure, such as self-affection and the bodily experience of the other. The analysis of the sensual sphere and the lived Body forces Husserl to an ongoing correction of his strong methodological assumptions. Subjectivity turns out to be an ambivalent phenomenon, as the subject is unable to fully present itself to itself, and therefore is forced to allow for a fundamental non-transparency in itself.

The aim of this paper is to give a new account of the way we exercise our attention in some paradigmatic cases of aesthetic experience. I treat aesthetic experience as a specific kind of experience and like in the case of other kinds of experiences, attention plays an important role in determining its phenomenal character. I argue that an important feature of at least some of our aesthetic experiences is that we exercise our attention in a specific, distributed, manner: our (...) attention is focused on one perceptual object, but it is distributed among the various properties of this object. I argue that this way of exercising one’s attention is very different from the way we attend most of the time and it fits very well with some important features of paradigmatic examples of aesthetic experience. (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)

The passage above comes from the opening pages of Merleau-Ponty’s essay on Edmund Husserl. It proposes a risky interpretive principle. The main feature of this principle is that the seminal aspects of a thinker’s work are so close to him that he is incapable of articulating them himself. Nevertheless, these aspects pervade the work, give it its style, its sense and its direction, and therefore belong to it essentially. As Martin Heidegger writes, in a passage quoted by Merleau-Ponty: " The (...) greater the work of a thinker – which in no way coincides with the breadth and number of writings – the richer is what is un-thought in this work, which means, that which emerges in and through this work as having not yet been thought. 2 " The goal of Merleau-Ponty’s essay, he says, is “to evoke this un-thought-of element in Husserl’s thought”. 3. (shrink)

I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.

How should we understand the emotional rationality? This first part will explore two models of cognition and analogy strategies, test their intuition about the emotional desire. I distinguish between subjective and objective desire, then presents with a feeling from the "paradigm of drama" export semantics, here our emotional repertoire is acquired all the learned, and our emotions in the form of an object is fixed. It is pretty well in line with the general principles of rationality, especially the lowest reasonable (...) principles. Turned to the second part of this side of reasonable. I will inquire how emotional beliefs, desires, and behaviors contribute to the rationality. I will present a very general biological hypothesis: emotions by controlling highlights the characteristics of perception and reasoning, so that we remove the difficulties due in particular to lead to paralysis; they are being simulated by a simplified perception of information, thus limiting our practice and cognitive choice. How are we to understand emotional or axiological rationality? I pursue analogies with both the cognitive and the strategic models, testing them against intuitions about emotional desires. We distinguish two different classes of desires, the subjective and the objective, and propose that emotions have a semantics that derives from "paradigmatic scenarios", in terms of which our emotional repertoire is learned and the formal objects of our emotions fixed. This fits in well with emerging facts about how our emotional capacities develop, and it can also be squared with the general principles of rationality, particularly minimal rationality. In the second part, I return to the perspective of rationality. I ask how emotions contribute to the rationality of beliefs, desires, and behavior. I proffer a very general biological hypothesis: Emotions spare us the paralysis potentially induced by a particular predicament by controlling the salience of features of perception and reasoning; they temporarily mimic the informational encapsulation of perception and so circumscribe our practical and cognitive options. (shrink)

I review three answers to the question: How can phenomenology contribute to the experimental cognitive neurosciences? The first approach, neurophenomenology, employs phenomenological method and training, and uses first-person reports not just as more data for analysis, but to generate descriptive categories that are intersubjectively and scientifically validated, and are then used to interpret results that correlate with objective measurements of behaviour and brain activity. A second approach, indirect phenomenology, is shown to be problematic in a number of ways. Indirect phenomenology (...) is generally put to work after the experiment, in critical or creative interpretations of the scientific evidence. Ultimately, however, proposals for the indirect use of phenomenology lead back to methodological questions about the direct use of phenomenology in experimental design. The third approach, 'front-loaded' phenomenology, suggests that the results of phenomenological investigations can be used in the design of empirical ones. Concepts or clarifications that have been worked out phenomenologically may operate as a partial framework for experimentation. (shrink)

Evan Thompson’s paper has four parts. First, he says more about what he means when he asks, “what is living?” Second, he presents his way of answering this question, which is that living is sense-making in precarious conditions. Third, he responds to Welton’s considerations about what he calls the “affective entrainment” of the living being by the environment. Finally, he addresses Protevi’s remarks about panpsychism.