This textbook is aimed at newcomers to nonlinear dynamics and chaos, especially students taking a first course in the subject. The presentation stresses analytical methods, concrete examples and geometric intuition. The theory is developed systematically, starting with first-order differential equations and their bifurcations, followed by phase plane analysis, limit cycles and their bifurcations, and culminating with the Lorenz equations, chaos, iterated maps, period doubling, renormalization, fractals, and strange attractors.A unique feature of the book is its emphasis on applications. These include (...) mechanical vibrations, lasers, biological rhythms, superconducting circuits, insect outbreaks, chemical oscillators, genetic control systems, chaotic waterwheels, and even a technique for using chaos to send secret messages. In each case, the scientific background is explained at an elementary level and closely integrated with the mathematical theory.Richly illustrated, and with many exercises and worked examples, this book is ideal for an introductory course at the junior/senior or first-year graduate level. It is also ideal for the scientist who has not had formal instruction in nonlinear dynamics, but who now desires to begin informal study. The prerequisites are multivariable calculus and introductory physics. (shrink)

Ranging across both standard philosophical territory and the landscape of cutting-edge cognitive science, Mindware: An Introduction to the Philosophy of Cognitive Science, Second Edition, is a vivid and engaging introduction to key issues, research, and opportunities in the field.Starting with the vision of mindware as software and debates between realists, instrumentalists, and eliminativists, Andy Clark takes students on a no-holds-barred journey through connectionism, dynamical systems, and real-world robotics before moving on to the frontiers of cognitive technologies, enactivism, predictive coding, and (...) the extended mind. Throughout, he highlights challenging issues in an effort to engage students in active debate. Each chapter opens with a brief sketch of a major research tradition or perspective, followed by concise critical discussions dealing with key topics and problems. (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)

Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts of musicing, thought (...) of as processes of environmental space manipulation, are thus examples of what I term Òemotional niche construction.Ó I explore three dimensions of this process and appeal to different strands of empirical work to support this picture. (shrink)

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

In _The Meaning of the Body_, Mark Johnson continues his pioneering work on the exciting connections between cognitive science, language, and meaning first begun in the classic _Metaphors We Live By_. Johnson uses recent research into infant psychology to show how the body generates meaning even before self-consciousness has fully developed. From there he turns to cognitive neuroscience to further explore the bodily origins of meaning, thought, and language and examines the many dimensions of meaning—including images, qualities, emotions, and metaphors—that (...) are all rooted in the body’s physical encounters with the world. Drawing on the psychology of art and pragmatist philosophy, Johnson argues that all of these aspects of meaning-making are fundamentally aesthetic. He concludes that the arts are the culmination of human attempts to find meaning and that studying the aesthetic dimensions of our experience is crucial to unlocking meaning's bodily sources. Throughout, Johnson puts forth a bold new conception of the mind rooted in the understanding that philosophy will matter to nonphilosophers only if it is built on a visceral connection to the world. “Mark Johnson demonstrates that the aesthetic and emotional aspects of meaning are fundamental—central to conceptual meaning and reason, and that the arts show meaning-making in its fullest realization. If you were raised with the idea that art and emotion were external to ideas and reason, you must read this book. It grounds philosophy in our most visceral experience.”—George Lakoff, author of _Moral Politics_. (shrink)

I think, therefore I am. The legendary pronouncement of philosopher René Descartes lingers as accepted wisdom in the Western world nearly four centuries after its author's death. But does thought really come first? Who actually runs the show: we, our thoughts, or the neurons firing within our brains? Walter J. Freeman explores how we control our behavior and make sense of the world around us. Avoiding determinism both in sociobiology, which proposes that persons' genes control their brains' functioning, and in (...) neuroscience, which posits that their brains' disposition is molded by chemistry and environmental forces, Freeman charts a new course--one that gives individuals due credit and responsibility for their actions. Drawing upon his five decades of research in neuroscience, Freeman utilizes the latest advances in his field as well as perspectives from disciplines as diverse as mathematics, psychology, and philosophy to explicate how different human brains act in their chosen diverse ways. He clarifies the implications of brain imaging, by which neural activity can be observed during the course of normal movements, and shows how nonlinear dynamics reveals order within the fecund chaos of brain function. (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)

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

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 ...

While philosophers of mind have been arguing over the status of mental representations in cognitive science, cognitive scientists have been quietly engaged in studying perception, action, and cognition without explaining them in terms of mental representation. In this book, Anthony Chemero describes this nonrepresentational approach, puts it in historical and conceptual context, and applies it to traditional problems in the philosophy of mind. Radical embodied cognitive science is a direct descendant of the American naturalist psychology of William James and John (...) Dewey, and follows them in viewing perception and cognition to be understandable only in terms of action in the environment. Chemero argues that cognition should be described in terms of agent-environment dynamics rather than in terms of computation and representation. After outlining this orientation to cognition, Chemero proposes a methodology: dynamical systems theory, which would explain things dynamically and without reference to representation. He also advances a background theory: Gibsonian ecological psychology, "shored up" and clarified. Chemero then looks at some traditional philosophical problems through the lens of radical embodied cognitive science and concludes that the comparative ease with which it resolves these problems, combined with its empirical promise, makes this approach to cognitive science a rewarding one. "Jerry Fodor is my favorite philosopher," Chemero writes in his preface, adding, "I think that Jerry Fodor is wrong about nearly everything." With this book, Chemero explains nonrepresentational, dynamical, ecological cognitive science as clearly and as rigorously as Jerry Fodor explained computational cognitive science in his classic work The Language of Thought. (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)

The Bayesian brain hypothesis provides an attractive unifying framework for perception, cognition, and action. We argue that the framework can also usefully integrate interoception, the sense of the internal physiological condition of the body. Our model of entails a new view of emotion as interoceptive inference and may account for a range of psychiatric disorders of selfhood.

Emotions are discrete, automatic responses to universally shared, culture-specific and individual-specific events. The emotion terms, such as anger, fear, etcetera, denote a family of related states sharing at least 12 characteristics, which distinguish one emotion family from another, as well as from other affective states. These affective responses are preprogrammed and involuntary, but are also shaped by life experiences.

Many appraisal theories claim that appraisal causes emotion. Critics have rejected this claim because they believe (a) it is incompatible with the claim that appraisal is a part of emotion, (b) it is not empirically supported, (c) it is circular and hence nonempirical, and (d) there are alternative causes. I reply that (a) the causal claim is incompatible with the part claim on some but not all interpretations of the causal claim and the part claim, (b) the lack of empirical (...) support can be remedied, (c) there may even be ways to cope with the circularity problem, and (d) it is unclear to what extent the alternative causes differ from appraisal. (shrink)

This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.

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 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)

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 paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...) of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...

INTRODUCTION: REASON AND THE PASSIONS i. Philosophy? This same philosophy is a good horse in the stable, but an arrant jade on a journey. ...

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.

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)

A proposal for the biological grounding of intrinsic teleology and sense-making through the theory of autopoiesis is critically evaluated. Autopoiesis provides a systemic language for speaking about intrinsic teleology but its original formulation needs to be elaborated further in order to explain sense-making. This is done by introducing adaptivity, a many-layered property that allows organisms to regulate themselves with respect to their conditions of viability. Adaptivity leads to more articulated concepts of behaviour, agency, sense-construction, health, and temporality than those given (...) so far by autopoiesis and enaction. These and other implications for understanding the organismic generation of values are explored. (shrink)

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)

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

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)