This paper is about knowledge construction in music listening. It argues for an experiential approach to music cognition, stressing the dynamic-vectorial field of meaning rather than the symbolic field. Starting from the conceptual framework of deixis and indexical devices, it elaborates on the concept of pointing as a heuristic guide for sense-making which allows the listener to conceive of perceptual elements in terms of salience, valence and semantical weight. As such, the act of (mental) pointing (...) can be predicative, either in a nominalistic or processual way, giving a description of the temporal evolution of a situation as against episodic nominalizations that refer to just one single instance of the process. The latter, especially, are characterized by distancing and polarization between the listener and the music, allowing him/her to deal with the music also at a level of mental imagery and to construct a mental or cognitive map of its unfolding. (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)

Worldviews are windows to the world. They can be static in referring to visual connotations as suggested by their name, but they can hold a dynamic and genetic view as well. As such, they imply a fundamental cognitive orientation, involving selection, interpretation and interaction with the world. What matters, in this view, is a kind of sense-making or semiotization of the world. -/- The semiotization of the “sonic world”, accordingly, can be approached from different epistemological positions: is music reducible (...) to symbolic labels that function as names, or is it only music when it sounds? And is music to be considered as an artifact that is out there or as something that must be listened to in order to make sense? Rather than joining these discussions, I propose to broaden the focus and to embrace psychological claims as well. Though psychology is not commonly considered as semiotics’ companion theory of truth, there are points of convergence with respect to the hierarchical arrangement of epistemic interactions with the sounds: there is a lower level processing of sensory input (sensation), a somewhat higher level (perception) which involves a first level of sense-making—mostly at a preverbal level—, and a higher level of sense-making which is commonly labeled as cognition. -/- In what follows I will argue for a cumulative model with lower levels not being substituted by higher ones, but with higher levels being superposed on them. Music, in fact, is a sounding art with the richness of it sonorous unfolding as one of its major characteristics. Music processing, therefore, should keep step with the music as it unfolds over time, in a dynamic tension that does justice to the level of sensation as well as to the listener’s continuous epistemic interactions with the sounds. (shrink)

This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces (...) some conceptual tools from the domain of cybernetics with a major focus on the concept of circularity, which links perception to action in a continuous process of sense-making and interaction with the environment. As such, it is closely related to some pragmatic, biosemiotic and ecosemiotic claims which can be subsumed under the general notion of functional significance. An attempt is made to apply this conceptual framework to the process of musical sense-making which involves the realisation of systemic cognition in the context of epistemic interactions that are grounded in our biology and possibilities for adaptive control. Central in this approach is the concept of coping with the environment, or, in musical terms, to perceive the sounding music in terms of what it affords for the consummation of musical behaviour. (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)

The paper deals with the approaches to researching music from the scientific perspective. It is argued that the scientific literature concerning music contains two different methodological approaches which significantly determine the range of possible conclusions to be reached by the research. The approach „from the outside“ investigates music by automatically applying to music the more general conclusions concerning human cognition and other capacities and behaviors. Thus, this approach omits music’s internal factors. In (...) contrast, the approach „from within“ consists in empirically investigating reactions to music, capacities necessary for its understanding, performing, etc., and their relationships with the reactions and capacities outside the domain of music. The paper shows that, even though the scientific research of music is still in the beginning stage, the approach from within enables more complete explanations concerning music, due to taking into account a larger number of factors relevant for philosophical understanding of the phenomenon of music. (shrink)

The aim of this paper is to refer basic philosophical approaches to the problem of musical meaning and, on the other hand, to describe some examples of the research on musical meaning found in the field of cognitive neuroscience. By looking at those two approaches together it can be seen that there is still no agreement on how musical meaning should be understood, often due to several methodological problems of which the most important seem to be the possibility of inter-theoretical (...) reduction and application of an accurate theory of explanation. I am suggesting that the application of some form of the mechanistic model of explanation might be found useful for clarifying reductionism-antireductionism dispute concerning musical meaning, and more importantly, for providing some answers for the debate in music-as-language controversy. (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)

Despite the recent proliferation of scientific, clinical, and narrative accounts of auditory verbal hallucinations, the phenomenology of voice hearing remains opaque and undertheorized. In this article, we outline an interdisciplinary approach to understanding hallucinatory experiences which seeks to demonstrate the value of the humanities and social sciences to advancing knowledge in clinical research and practice. We argue that an interdisciplinary approach to the phenomenology of AVH utilizes rigorous and context-appropriate methodologies to analyze a wider range of first-person accounts (...) of AVH at 3 contextual levels: cultural, social, and historical; experiential; and biographical. We go on to show that there are significant potential benefits for voice hearers, clinicians, and researchers. These include informing the development and refinement of subtypes of hallucinations within and across diagnostic categories; “front-loading” research in cognitive neuroscience; and suggesting new possibilities for therapeutic intervention. In conclusion, we argue that an interdisciplinary approach to the phenomenology of AVH can nourish the ethical core of scientific enquiry by challenging its interpretive paradigms, and offer voice hearers richer, potentially more empowering ways to make sense of their experiences. (shrink)

Philosophy begins and ends in disagreement. Philosophers disagree among themselves in innumerable ways, and this pervasive and permanent dissent is a sign of their inability to solve philosophical problems and establish substantive truths. This raises the question: What should I do with my philosophical beliefs in light of philosophy's epistemic failure? In this open-access book, János Tozsér develops four possible answers into comprehensive metaphilosophical visions and argues that we cannot find peace either by committing ourselves to one of these visions (...) or by abandoning our philosophical beliefs. Tozsér calls this disheartening insight "the experience of breakdown", making the case that philosophy's truth-seeking and justificatory tools are unsuitable for establishing truths. Shedding light on the epistemic status of our philosophical beliefs, Tozsér adopts a broad approach to assess the metaphilosophical visions used by philosophers to interpret their own activity and determine their epistemic self-esteem. Open access was funded by the Research Centre for the Humanities, Hungary. (shrink)

This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases (...) allow us to synthesize or reject traditional philosophical differences. (shrink)

In this book, well-known scholars describe new and exciting approaches to aesthetics, creativity, and psychology of the arts, approaching these topics from a point of view that is biological or related to biology and answering new questions with new methods and theories. All known societies produce and enjoy arts such as literature, music, and visual decoration or depiction. Judging from prehistoric archaeological evidence, this arose very early in human development. Furthermore, Darwin was explicit in attributing aesthetic sensitivity to lower (...) animals. These considerations lead us to wonder whether the arts might not be evolutionarily based. Although such an evolutionary basis is not obvious on the face of it, the idea has recently elicited considerable attention. The book begins with a consideration of ten theories on the evolutionary function of the arts, and this is followed by several chapters that consider the possible evolutionary function of specific arts such as music and literature. The theory of evolution was first drawn up in biology, but evolution is not confined to biology: genuinely evolutionary theories of sociocultural change can be formulated. That they need to be formulated is shown in several chapters that discuss regular trends in literature and scientific writings. Psychologists have recently rediscovered the obvious fact that thought and perception occur in the brain, so cognitive science moves ever closer to neuroscience. Several chapters give overviews of neurocognitive and neural network approaches to creativity and aesthetic appreciation. The book concludes with two exciting chapters describing brain-scan research on what happens in the brain during creativity and presenting a close examination of the relationship between genetically transmitted mental disorder and creativity. (shrink)

The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, (...) it should answer whether the results of the empirical research contribute to the debates of philosophical aesthetics of music. Each of the three chapters of the dissertation deals with one particular problem in philosophy of music: meaning in music, value of music, and the relationship between music and the emotions. For each particular philosophical problem discussed in these chapters, it is demonstrated that the experimental results provide interesting insights for philosophy of music. It is concluded in the dissertation that philosophers can benefit from examining experimental studies, not only regarding the particular aesthetic theories, but also in regard to the methodological consideration, since the dissertation shows that this kind of interdisciplinary approach uncovers methods useful to philosophers, not commonly available to the armchair philosophical approach. (shrink)

Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...) For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach?a differently nuanced model of expert skill aligned with the integrative spirit of the Noices? research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

In Section 1, I introduce three views that explain human cognitive development from different standpoints: Marcus’s neo-nativism, standard neuroconstructivism, and neo-neuroconstructivism. In Section 2, I assess Marcus’s attempt to reconcile nativism with developmental flexibility. In Section 3, I argue that in structurally reconfiguring nativism, Marcus ends up transforming it into an unrecognizable form, and I claim that his view could be accommodated within the more general framework provided by standard neuroconstructivism. In Section 4, I focus on recent empirical findings in (...) neuropsychology and cultural/social neuroscience, and propose a friendly revision to standard neuroconstructivism, thus developing the neo-neuroconstructivist view. I conclude the article in Section 5 by analysing the implications of the results discussed in Section 4 for both neo-nativism and standard neuroconstructivism. 1 Introduction2 Marcus’s Neo-nativism3 Is Marcus’s Neo-nativism Really a Form of Nativism?4 Neo-neuroconstructivism and Dynamic Enskillment5 Conclusion. (shrink)

I have two objectives in this article. The first is methodological: I elaborate a minimal phenomenological method and attempt to show its importance in studies of infant behavior. The second objective is substantive: Applying the minimal phenomenological approach, combined with Meltzoff’s “like-me” developmental framework, I propose the hypothesis that infants learn the pointing gesture at least in part through imitation. I explain how developments in sensorimotor ability (posture, arm and hand control and coordination, and locomotion) in the first year (...) of life prepare the infant for acquiring the pointing gesture. The former may directly enable the latter by allowing the infant to experience its own body as being “like those” of others, thus allowing it to imitatively appropriate a broader range of adult behavior. My proposal emphasizes the embodiment of mind in the development of cognition, contrary to latent dualistic tendencies in some developmental literature. (shrink)

“4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music (...) can (at least potentially) scaffold various forms of thought, experience, and behavior. To develop this idea, I consider the “material” and “worldmaking” character of music, and I apply these considerations to two cases studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

The issue of musical identity—of what defines works of music, gives each its unique character and distinguishes them from one another—is one of the central issues in the philosophy of music. Too often in the philosophical literature it is approached as a purely theoretical question, one that can be answered adequately through careful intellectual consideration of scores and performances. The typical philosophical approach to the performance of Western art music, particularly that composed between the Baroque and (...) Romantic eras, is to offer descriptions of how musical works come into being, what their origins may be, which of their structural and aesthetic elements must be observed and conserved in their representations, and so on. It takes the written notation of a musical work, the score, to be a kind of blueprint created by a composer, defining and describing an autonomous musical entity, the musical work, such that another person might perform it. The work is recognized paradoxically as something existing independently of, yet deriving its identity from, its origins with the composer. (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.

In this short paper I critically analyze Marc Leman’s embodied approach to musical meaning and representation, suggesting that its explanatory value is not sufficient in order to be a good alternative for theories encompassing the concept of representation.

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.

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the (...) music’ and, on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

The most promising approaches to understanding phenomenal consciousness are what I’ll call cognitive approaches, the most notable exemplars of which are the theories of consciousness articulated by David Rosenthal and Daniel Dennett. The aim of the present contribution is to review the core similarities and differences of these exemplars, as well as to outline the main strengths and remaining challenges to this general sort of approach.

B eginning with the problem of integrating diverse disciplinary perspectives on moral cognition, we argue that the various disciplines have an interest in developing a common conceptual framework for moral cognition research. We discuss issues arising in the other chapters in this volume that might serve as focal points for future investigation and as the basis for the eventual development of such a framework. These include the role of theory in binding together diverse phenomena and the role of (...) philosophy in the construction of moral theory. We discuss the problem of distinguishing descriptive and normative issues and the importance of systematic normative analysis for empirical research. We argue that theories of cognitive architecture should play an important role as a backdrop for investigation into specific aspects of moral cognition, and we consider some of the taxonomic issues that will arise for moral cognition research, including types of moral agents, forms of moral cognition, and the nature of morality itself. Finally, we discuss some key issues in moral development, including the importance of.. (shrink)

This research employs the Bayesian network modeling approach, and the Markov chain Monte Carlo technique, to learn about the role of lies and violence in teachings of major religions, using a unique dataset extracted from long-standing Vietnamese folktales. The results indicate that, although lying and violent acts augur negative consequences for those who commit them, their associations with core religious values diverge in the final outcome for the folktale characters. Lying that serves a religious mission of either Confucianism or (...) Taoism (but not Buddhism) brings a positive outcome to a character (βT_and_Lie_O= 2.23; βC_and_Lie_O= 1.47; βT_and_Lie_O= 2.23). A violent act committed to serving Buddhist missions results in a happy ending for the committer (βB_and_Viol_O= 2.55). What is highlighted here is a glaring double standard in the interpretation and practice of the three teachings: the very virtuous outcomes being preached, whether that be compassion and meditation in Buddhism, societal order in Confucianism, or natural harmony in Taoism, appear to accommodate two universal vices—violence in Buddhism and lying in the latter two. These findings contribute to a host of studies aimed at making sense of contradictory human behaviors, adding the role of religious teachings in addition to cognition in belief maintenance and motivated reasoning in discounting counterargument. (shrink)

Context: Philosophical and - more recently - empirical approaches to the study of mind have recognized the research of lived experience as crucial for the understanding of their subject matter. Such research is faced with self-referentiality: every attempt at examining the experience seems to change the experience in question. This so-called “excavation fallacy” has been taken by many to undermine the possibility of first-person inquiry as a form of scientific practice. Problem: What is the epistemic character and value of reflectively (...) acquired phenomenological data? Can the study of experience, despite the excavation fallacy, rely on the act of reflection on lived experience and make sense and use of its results? Method: Through a philosophical discourse, informed by empirical first-person inquiry, we explore the experiential structure of the act of reflection and the formation of the corresponding belief about past experience. Results: We present a provisional first-person model of the experiential dynamics of retrospective reflection, in which the reflective act is characterized as enaction of belief about past experience that co-determines - rather than distorts - its results. From a constructivist perspective on the inevitable interdependence between the act of observing and the observed, the excavation “fallacy” is recognized as an intrinsic characteristic of reflection. Reflection is described as an iterative, self-referential process, guided by a context- and subject-specific horizon of expectations. Implications: Knowing the characteristics of the formation of beliefs about experience is essential for understanding first-person data and for the possibility of their acquisition and use in scientific practice, particularly in the context of second-person approaches to the study of experience. Constructivist content: We relate the proposed understanding of reflection to constructivist epistemology and argue that constructivism provides an epistemological foundation for the empirical study of experience more suitable than the traditional epistemological objectivism of cognitive science. We suggest that the constructive nature of the process of reflection calls for a collaboration between the fields of constructivism, phenomenology, and first-person research, and points towards the potential for their mutual enrichment. (shrink)

In this paper, I argue that cognitive enhancement cannot be epistemically beneficial since getting things right in particular and epistemic agency in general both presuppose a kind of achievement. Drawing on Aristotle’s ethics, I distinguish four categories of actions: caused, attributable, responsible, and creditable. I conclude that to the extent that cognitive enhancement is incompatible with the latter category it undermines rather than strengthens autonomous agency in the realm of cognition.

This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...) the production and appreciation of somerecently discovered Palaeolithic artefacts. (shrink)

Music can infect us. In the dominant approach, music contaminates listeners through emotional mimicry and independently of value appraisal, just like when we catch other people’s feelings. Musical contagion is thus considered fatal to the mainstream view of emotions as cognitive evaluations. This paper criticizes this line of argument and proposes a new cognitivist account: the value metaphor view. Non-cognitivism relies on a contentious model of emotion transmission. In the competing model (social appraisal), we catch people’s emotions (...) by appraising value through their emotional expressions. Social appraisal debunks the main motivation for non-cognitivism and offers fruitful insights into musical contagion. Combining it with metaphor theory, I claim that musical contagion involves experiencing the music as a metaphor for emotions and values. Just like people infect us as we appraise value through their emotional expressions, music contaminates listeners because they hear it metaphorically-as some emotional expression and hereby appraise it metaphorically-as some value. As infectious music “sounds like” emotions and values, cognitivism is safe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's (...) book before sketching four recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

Cognitive science is ready for a major reconceptualization. This is not at all because efforts by its practitioners have failed, but rather because so much progress has been made. The need for reconceptualization arises from the fact that this progress has come at greater cost than necessary, largely because of more or less philosophical (at least metatheoretical) straightjackets still worn - whether wittingly or not - by those doing the work. These bonds are extremely hard to break. Even some of (...) those who have directed powerful arguments against them have failed entirely to shake them off. The bonds are often attributed to the work of René Descartes, but they are really much older than that. If even in the present effort, I fail entirely to remove the straightjacket myself (even though I am making every attempt to get it off), this will testify to its tight grip. The straightjacket I am thinking about, of course, is the vague picture of the human situation that imagines centralized, internal minds in control of bodily machines. While almost no one in the contemporary cognitive science arena imagines minds to be the kind of thing Descartes took them to be - instantiations of a unique, fully non-material substance - there is nevertheless a deep resistance, even among the most fervent professed "materialists," to giving up this picture. In what follows, I shall try to offer an approach which on the one hand capitalizes on the excellent progress that has been made in cognitive science in the last few decades, and which on the other hand offers a general approach that may help at some level in the attempt to shake "Cartesian" bonds. The approach, as the alert reader already knows from the title of the essay, is an "ecological" approach. (shrink)

The basic problem of this investigation concerns how is it that an individual "understands" or "comprehends" what another communicates and, sometimes, even what he does not communicate but of which he has experience. We would like here to take stock of the models that psychology currently has available to study the phenomenon of interpersonal understanding,using a cognitive approach, and to propose some working hypotheses that in our opinion could guide further research.

This chapter has three aims. Firstly, it elaborates the so-called pragmatic approach to fictionalism. By evoking some classical pragmatic theories of fictive utterances, it gives an account of pragmatic properties responsible for the difference between serious and fictive utterances. The authors argue for the thesis that the pragmatic approach can be applied plausibly to all kinds of fictionalism, that is from instrumentalism to figuralism. Secondly, the authors investigate some consequences of the suggested account for fictionalist theories in general. (...) They show that some more or less known difficulties of fictionalist theories become more serious if one accepts the pragmatic approach. The chapter discusses two of them, namely the problem of entirely fictional discourses and the apparent contradiction between hermeneutic fictionalism and first person authority. Thirdly, the authors investigate the consequences of the pragmatic approach for mental fictionalism in particular. At the end of the paper, they argue that once the pragmatic approach is applied to mental fictionalism, the well-known problem of cognitive suicide becomes especially nagging. They suggest it is highly questionable that mental fictionalism is worth to endorse in the light of these serious difficulties. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

One of the important challenges in the philosophy of mathematics is to account for the semantics of sentences that express mathematical propositions while simultaneously explaining our access to their contents. This is Benacerraf’s Dilemma. In this dissertation, I argue that cognitive science furnishes new tools by means of which we can make progress on this problem. The foundation of the solution, I argue, must be an ontologically realist, albeit non-platonist, conception of mathematical reality. The semantic portion of the problem can (...) be addressed by accepting a Chomskyan conception of natural languages and a matching internalist, mentalist and nativist view of semantics. A helpful perspective on the epistemic aspect of the puzzle can be gained by translating Kurt G ̈odel’s neo-Kantian conception of the nature of mathematics and its objects into modern, cognitive terms. (shrink)

In light of the recent credibility crisis in psychology, this paper argues for a greater emphasis on theorizing in scientific research. Although reliable experimental evidence, preregistration, methodological rigor, and new computational frameworks for modeling are important, scientific progress also relies on properly functioning theories. However, the current understanding of the role of theorizing in psychology is lacking, which may lead to future crises. Theories should not be viewed as mere speculations or simple inductive generalizations. To address this issue, the author (...) introduces a framework called “cognitive metascience,” which studies the processes and results of evaluating scientific practice. This study should proceed both qualitatively, as in traditional science and technology studies and cognitive science, and quantitatively, by analyzing scientific discourse using language technology. By analyzing theories as cognitive artifacts that support cognitive tasks, this paper aims to shed more light on their nature. This perspective reveals that multiple distinct theories serve entirely different roles, and studying these roles, along with their epistemic vices and virtues, can provide insight into how theorizing should proceed. The author urges a change in research culture to appreciate the variety of distinct theories and to systematically advance scientific progress. . (shrink)

In this paper, I argue that looking at the concept of neural function through the lens of cognition alone risks cognitive myopia: it leads neuroscientists to focus only on mechanisms with cognitive functions that process behaviorally relevant information when conceptualizing “neural function”. Cognitive myopia tempts researchers to neglect neural mechanisms with noncognitive functions which do not process behaviorally relevant information but maintain and repair neural and other systems of the body. Cognitive myopia similarly affects philosophy of neuroscience because scholars (...) overlook noncognitive functions when analyzing issues surrounding e.g., functional decomposition or the multifunctionality of neural structures. I argue that we can overcome cognitive myopia by adopting a patchwork approach that articulates cognitive and noncognitive “patches” of the concept of neural function. Cognitive patches describe mechanisms with causally specific effects on cognition and behavior which are likely operative in transforming sensory or other inputs into motor outputs. Noncognitive patches describe mechanisms that lack such specific effects; these mechanisms are enabling conditions for cognitive functions to occur. I use these distinctions to characterize two noncognitive functions at the mesoscale of neural circuits: subsistence functions like breathing are implemented by central pattern generators and are necessary to maintain the life of the organism. Infrastructural functions like gain control are implemented by canonical microcircuits and prevent neural system damage while cognitive processing occurs. By adding conceptual patches that describe these functions, a patchwork approach can overcome cognitive myopia and help us explain how the brain’s capacities as an information processing device are constrained by its ability to maintain and repair itself as a physiological apparatus. (shrink)

In the traditional view, blends, unlike compounds, are excluded from grammar and word-formation, so they are considered dichotomous under the either-or methodology. This research studies the nature of the relationship between compounds and blends from a cognitive linguistic perspective. A data set on both neologisms is investigated to determine whether the border between them is clear. Consequently, the researcher's first assumption is confirmed in that the boundaries between compounds and blends are blurred, finding out cases that belong to the fuzzy (...) border; that is to say, cases difficult to determine whether they are compounds or blends are identified. The alternative categorization might be one that views compounds and blends as shades of grey. With the blurring of the border concerned, only typical compounds and typical blends show some 'difference' at the level of form, which is explicated as a metonymical extension. In addition, a study of the internal structure of both compounds and blends to determine the kinds of schemas they have is done. The results show that compounds and blends have the same schemas. (shrink)

Biogenic approaches investigate cognition from the standpoint of evolutionary function, asking what cognition does for a living system and then looking for common principles and exhibitions of cognitive strategies in a vast array of living systems—non-neural to neural. One worry which arises for the biogenic approach is that it is overly permissive in terms of what it construes as cognition. In this paper I critically engage with a recent instance of this way of criticising biogenic approaches (...) in order to clarify their theoretical commitments and prospects. In his critique of the biogenic approach, Fred Adams uses the presence of intentional states with conceptual content as a criterion to demarcate cognition-driven behaviour from mere sensory response. In this paper I agree with Adams that intentionality is the mark of the cognitive, but simultaneously reject his overly restrictive conception of intentionality. I argue that understanding intentionality simpliciter as the mark of the mental is compatible with endorsing the biogenic approach. I argue that because cognitive science is not exclusively interested in behaviour driven by intentional states with the kind of content Adams demands, the biogenic approach’s status as an approach to cognition is not called into question. I then go on to propose a novel view of intentionality whereby it is seen to exist along a continuum which increases in the degree of representational complexity: how far into the future representational content can be directed and drive anticipatory behaviour. Understanding intentionality as existing along a continuum allows biogenic approaches and anthropogenic approaches to investigate the same overarching capacity of cognition as expressed in its different forms positioned along the continuum of intentionality. Even if all organisms engage in some behaviour that is driven by weak intentional dynamics, this does not suggest that every behaviour of all organisms is so driven. As such, the worry that the biogenic approach is overly permissive can be avoided. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of (...) inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

We describe a new approach to understanding the functioning of the nervous system, unifying previous ideas of Josephson and Hauser, Baas, and Brooks. Its basis consists in analysing the total developmental process into basic components of development, whose corresponding mechanisms (skill constructors) are organised together into a coherent total system.

The first part of this article makes the case that human cognition is an intergenerational project enabled by the inheritance and bequeathal of cognitive technology (Sects. 2–4). The final two sections of the article (Sects. 5 and 6) explore the normative significance of this claim. My case for the intergenerational claim draws results from multiple disciplines: philosophy (Sect. 2), cultural evolutionary approaches in cognitive science (Sect. 3), and developmental psychology and neuroscience (Sect. 4). In Sect. 5, I propose that (...) cognitive technology should be given to future generations in accordance with principles of pluralism and transparency. In the final main section of the article, Sect. 6, I apply these principles to topics such as the preservation of information, environmental offloading of cognition, and thinking itself. (shrink)

Recent research on infant and animal imitation and on mirror neuron systems has
brought imitation back in focus in psychology and cognitive science. This topic has
always been important for philosophical hermeneutics as well, focusing on theory and
method of understanding. Unfortunately, relations between the scientific and the
hermeneutic approaches to imitation and understanding have scarcely been investigated,
to the loss of both disciplines. In contrast to the cognitive scientific emphasis on
sharing and convergence of representations, the hermeneutic analysis emphasizes the
indeterminacy and openness of action understanding (...) due to preunderstanding, action
configuration, and the processual nature of understanding. This article discusses empirical
evidence in support of these aspects and concludes that hermeneutics can
contribute to the scientific investigation of imitation and understanding. Since, conversely,
some grounding—and constraining—aspects of hermeneutics may be derived
from cognitive science, both should be integrated in a multilevel explanation of
imitation and understanding. This holds also for explanations that are largely based on
mirror neuron systems, since these appear to be sensitive to developmental and
experiential factors, too. (shrink)

The purpose of this dissertation is to design a conception of political poverty that can address the loss of the experience of political freedom. This form of political poverty is described as separate from poverty of resources and opportunities, and poverty of capabilities required for participation. The study aims to make intelligible how a person or a group can suffer from a diminishing and fracturing of social experience, which can lead to the inability to experience oneself as a capable and (...) credible political agent, political engagement as a meaningful field of action, and democratic politics as a meaningful avenue for changing things for the better. This is a phenomenon which has been heretofore neglected by political theorists. -/- The study presents a heuristic diagnosis of political poverty as loss of experiential freedom that involves four aspects of experience that have specifically political relevance: loss of trust, loss of expressivity, loss of a sense of access to the public world, and the loss of future temporality in experience. Diminishing and fracturing of these aspects of social experience can lead to politically impoverished persons and groups to become complicit in their own marginalisation by remaining unmotivated to challenge it. These aspects of social experience are approached through phenomenological portraits, chosen from literature on social exclusion and poverty. The diagnosis remains open to further development through exploration of other aspects of experience. -/- The study draws on the thinking of Maurice Merleau-Ponty and Hannah Arendt to present an account of political freedom as only experienced in co-existence with others. Through a critical discussion of their work, a more comprehensive account of political agency is developed. The experience of having political agency involves not just the cognitive and communicative capacities of the subject, but also the entire perceptual and motor intentionality of their lived body. The experience of meaningfulness is approached by exploring the intersubjective constitution of the self in a dialectical process with their social environment. This experience is described as a form of faith in oneself as an agent and in the meaningfulness of political engagement. Such faith is a practical, meaning-giving intentional relationship of a lived body to their social environment. -/- This study emphasizes the experience of being a capable and credible political agent, and experiencing politics as a meaningful field for engagement, as important aspects of political freedom that should be considered alongside inclusivity of democratic processes, the equality of opportunity to participate, and the equality of the cognitive and communicative capabilities required for effective participation. In order to discuss political poverty as the loss of experiential freedom, we must go beyond objectivist models of social critique and approach the problem with the tools of existential phenomenology. (shrink)

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of (...) class='Hi'>music performance advocated by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)

Indian philosophy is a term that refers to schools of philosophical thought that originated in the Indian continent. Buddhism is one of the important school of Indian philosophical thought. Happiness is much pursued by individuals and society in all cultures. Eastern and western cultures have understood well-being and evolved ways and means to promote well-being over the years. Buddhism pursues happiness by using knowledge and practice to achieve mental equanimity. In Buddhism, equanimity, or peace of mind, is achieved by detaching (...) oneself from the cycle of craving that produces dukkha. So by achieving a mental state where you can detach from all the passions, needs and wants of life, you free yourself and achieve a state of transcendent bliss and well-being. The journey to attain a deeper form of happiness requires an unflinching look into the face of a reality where all life is seen as dukkha or mental dysfunction. Buddhism is a philosophy and practice that is extremely concerned with the mind and its various delusions, misunderstandings and cravings but, happily for us, sees a way out through higher consciousness and mindful practice. Perhaps it is because of this seemingly dim view of reality that happiness in Buddhism is so tremendously full; the ideas contained in Buddha's teachings point to a thorough engagement with lived reality. Ironically, it is through such an engagement with one's self, the world and reality that one is able to achieve a transcendent happiness. Equanimity, a deep sense of wellbeing and happiness, is attainable through proper knowledge and practice in everyday life. The objective of this paper is to the study the conception of happiness Buddhist philosophy. This paper is divided into four parts (i) meaning of Indian philosophy and its relation with Indian psychology, (ii) Buddhist philosophy, (iii) Buddhist conception of happiness and (iv) relevance of Buddhism in present day world. (shrink)

A central finding in experimental research identified with Embodied Cognition (EC) is that understanding actions involves their embodied simulation, i.e. executing some processes involved in performing these actions. Extending these findings, I argue that reenactment – the overt embodied simulation of actions and practices, including especially communicative actions and practices, within utterances – makes it possible to forge an integrated EC-based account of linguistic meaning. In particular, I argue: (a) that remote entities can be referred to by reenacting actions (...) performed with them; (b) that the use of grammatical constructions can be conceived of as the reenactment of linguistic action routines; (c) that complex enunciational structures (reported speech, irony, etc.) involve a separate level of reenactment, on which characters are presented as interacting with one another within the utterance; (d) that the segmentation of long utterances into shorter units involves the reenactment of brief audience interventions between units; and (e) that the overall meaning of an utterance can be stated in reenactment terms. The notion of reenactment provides a conceptual framework for accounting for aspects of language that are usually thought to be outside the reach of EC in an EC framework, thus supporting a view of meaning and linguistic content as thoroughly grounded in action and interaction. (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)

My aim in this paper is to advance our understanding of medieval approaches to consciousness by focusing on a particular but, as it seems to me, representative medieval debate. The debate in question is between William Ockham and Walter Chatton over the existence of what these two thinkers refer to as “reflexive intellective intuitive cognition”. Although framed in the technical terminology of late-medieval cognitive psychology, the basic question at issue between them is this: Does the mind (or “intellect”) cognize (...) its own states via higher-order (or “reflexive”) representational states? Their debate is representative both because it highlights the central dialectical issues and alternatives at play in medieval discussions of consciousness generally and because it showcases the two main types of approach to consciousness one finds in the later medieval period, namely, those that explain consciousness in terms of intentionality (typically, higher-order intentionality), and those that understand consciousness as a non-intentional, sui-generis mode of awareness. (shrink)