Could interacting mindreaders be in a position to know things which they would be unable to know if they were manifestly passive observers? This paper argues that they could. Mindreading is sometimes reciprocal: the mindreader’s target reciprocates by taking the mindreader as a target for mindreading. The paper explains how such reciprocity can significantly narrow the range of possible interpretations of behaviour where mindreaders are, or appear to be, in a position to interact. A consequence is that revisions and extensions (...) are needed to standard theories of the evidential basis of mindreading. The view also has consequences for understanding how abilities to interact combined with comparatively simple forms of mindreading may explain the emergence, in evolution or development, of sophisticated forms of social cognition. (shrink)

Abstract. This paper both clarifies and broadens the notion of control and its relation to the self. By discussing instances of skillful absorption from different cultural backgrounds, I argue that the notion of control is not as closely related to self-consciousness as is often suggested. Experiences of flow and wu-wei exemplify a nonself-conscious though personal type of control. The intercultural occurrence of this type of behavioral control demonstrates its robustness, and questions two long-held intuitions about the relation between self-consciousness and (...) the experience of control. The first intuition holds that the conscious self initiates and controls actions, thoughts, and feelings. The second is the view that losing this self-conscious type of control is a negative and upsetting experience. By focusing on “the paradox of control” in these experiences of skillful absorption, I argue that a feeling of control can occur without a self that narratively claims control. Furthermore, this type of control can be a very positive and pleasurable experience. Therefore, the common views of the notion of control are in need of broader conceptualization and further refinement. (shrink)

An important shift is taking place in social cognition research, away from a focus on the individual mind and toward embodied and participatory aspects of social understanding. Empirical results already imply that social cognition is not reducible to the workings of individual cognitive mechanisms. To galvanize this interactive turn, we provide an operational definition of social interaction and distinguish the different explanatory roles – contextual, enabling and constitutive – it can play in social cognition. We show that interactive processes are (...) more than a context for social cognition: they can complement and even replace individual mechanisms. This new explanatory power of social interaction can push the field forward by expanding the possibilities of scientific explanation beyond the individual. (shrink)

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)

There is a widespread view that well-learned skills are automated, and that attention to the performance of these skills is damaging because it disrupts the automatic processes involved in their execution. This idea serves as the basis for an account of choking in high pressure situations. On this view, choking is the result of self-focused attention induced by anxiety. Recent research in sports psychology has produced a significant body of experimental evidence widely interpreted as supporting this account of choking in (...) certain kinds of complex sensorimotor skills. We argue against this interpretation, pointing to problems with both the empirical evidence and the underlying theory. The experimental research fails to provide direct support for the central claims of the self-focus approach, contains inconsistencies, and suffers from problems of ecological validity. In addition, qualitative studies of choking have yielded contrary results. We further argue that in their current forms the self-focus and rival distraction approaches both lack the theoretical resources to provide a good theory of choking, and we argue for an expanded approach. Some of the elements that should be in an expanded approach include accounts of the features of pressure situations that influence the psychological response, the processes of situation appraisal, and the ways that attentional control can be overwhelmed, leading to distraction in some cases, and in others, perhaps, to damaging attention to skill execution. We also suggest that choking may sometimes involve performance-impairing mechanisms other than distraction or self-focus. (shrink)

We present a synthetic theory of skilled action which proposes that cognitive processes make an important contribution to almost all skilled action, contrary to influential views that many skills are performed largely automatically. Cognitive control is focused on strategic aspects of performance, and plays a greater role as difficulty increases. We offer an analysis of various forms of skill experience and show that the theory provides a better explanation for the full set of these experiences than automatic theories. We further (...) show that the theory can explain experimental evidence for skill automaticity, including evidence that secondary tasks do not interfere with expert performance, and evidence that experts have reduced memory for performance of sensorimotor skills. (shrink)

Given the premise that joint action plays some role in explaining how humans come to understand minds, what could joint action be? Not what a leading account, Michael Bratman's, says it is. For on that account engaging in joint action involves sharing intentions and sharing intentions requires much of the understanding of minds whose development is supposed to be explained by appeal to joint action. This paper therefore offers an account of a different kind of joint action, an account compatible (...) with the premise about development. The new account is no replacement for the leading account; rather the accounts characterise two kinds of joint action. Where the kind of joint characterised by the leading account involves shared intentions, the new account characterises a kind of joint action involving shared goals. (shrink)

Are there distinct roles for intention and motor representation in explaining the purposiveness of action? Standard accounts of action assign a role to intention but are silent on motor representation. The temptation is to suppose that nothing need be said here because motor representation is either only an enabling condition for purposive action or else merely a variety of intention. This paper provides reasons for resisting that temptation. Some motor representations, like intentions, coordinate actions in virtue of representing outcomes; but, (...) unlike intentions, motor representations cannot feature as premises or conclusions in practical reasoning. This implies that motor representation has a distinctive role in explaining the purposiveness of action. It also gives rise to a problem: were the roles of intention and motor representation entirely independent, this would impair effective action. It is therefore necessary to explain how intentions interlock with motor representations. The solution, we argue, is to recognise that the contents of intentions can be partially determined by the contents of motor representations. Understanding this content-determining relation enables better understanding how intentions relate to actions. (shrink)

According to a view defended by Hubert Dreyfus and others, elite athletes are totally absorbed while they are performing, and they act non-deliberately without any representational or conceptual thinking. By using both conceptual clarification and phenomenological description the article criticizes this view and maintains that various forms of conscious thinking and acting plays an important role before, during and after competitive events. The article describes in phenomenological detail how elite athletes use consciousness in their actions in sport; as planning, attention, (...) thinking, decision, and monitoring of performance. Elite athletes do not act as zombies. It is concluded that qualia and phenomenal consciousness are important phenomena in elite sport. (shrink)

In this paper, we investigate the role of intention and joint attention in joint actions. Depending on the shared intentions the agents have, we distinguish between joint path-goal actions and joint final-goal actions. We propose an instrumental account of basic joint action analogous to a concept of basic action and argue that intentional joint attention is a basic joint action. Furthermore, we discuss the functional role of intentional joint attention for successful cooperation in complex joint actions. Anika Fiebich is PhD (...) student in Philosophy at the Ruhr-University Bochum, Germany. Shaun Gallagher is Lilian and Morrie Moss Professor of Philosophy at the University of Memphis, USA. (shrink)

Hubert Dreyfus has argued that cases of absorbed bodily coping show that there is no room for self-awareness in flow experiences of experts. In this paper, I argue against Dreyfus’ maxim of vanishing self-awareness by suggesting that awareness of agency is present in expert bodily action. First, I discuss the phenomenon of absorbed bodily coping by discussing flow experiences involved in expert bodily action: merging into the flow; immersion in the flow; emergence out of flow. I argue against the claim (...) that flow experience does not involve an awareness of agency for each of these features, while conceding that fluent agency does not involve self-awareness in the thetic sense. I challenge the assumption that the awareness of fluent agency must be understood in terms of a thetic awareness of agency. Instead, I develop an Anscombean account of the awareness of fluent agency in terms of the phenomenal character of knowing one’s aims. I respond to the challenge that if an Anscombean account of the awareness of agency is to succeed, then agents must be able to answer Anscombean questions. I consider the objection that awareness of agency is not a form of self-awareness by outlining an account of self-awareness as self-synthesis that is distinct from self-perception and self-ascription, but which makes room for self-awareness in expert bodily action. (shrink)

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)

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)

This paper discusses Raimo Tuomela's we-mode account in his recent book "Social Ontology: Collective Intentionality and Group Agents" and develops the idea that mode should be thought of as representational. I argue that in any posture – intentional state or speech act – we do not merely represent a state of affairs as what we believe, or intend etc. – as the received view of 'propositional attitudes' has it –, but our position relative to that state of affairs and thus (...) ourselves. That is, we represent the subject through what I call "subject mode" and its position through what I call "position mode". I argue that the key to understanding collective intentionality is to understand how we represent others as co-subjects of positions rather than as their objects. This is shown on various levels of collective intentionality. On the non-conceptual level of joint attention we experience others as co-subjects who we attend with rather than to and who we are at least also disposed to act jointly with. On the conceptual level of the we-mode we represent others as co-subjects of positions of knowledge, intention, belief and shared values. Organizations and thus group agents in Tuomela's sense I propose to understand in terms of what I call "role mode", that is, in terms of the positions individuals and groups take as occupants of certain roles, for example, as committee members, or as chancellor of Germany. I try to show how this account, while very much in the spirit of Tuomela's, can avoid his fictionalism about group agents and some other problems of his account, while steering between the Scylla of excessive individualism and the Charybdis of extreme collectivism. (shrink)

This book presents a detailed analysis of what it means to be absorbed in playing music. Based on interviews with one of the world’s leading classical ensembles, “The Danish String Quartet”, it debunks the myth that experts cannot reflect while performing, but also shows that intense absorption is not something that can be achieved through will, intention, prediction or planning – it remains something individuals have to be receptive to. Based in the phenomenological tradition of Husserl and Merleau-Ponty as well (...) as of Dan Zahavi and Shaun Gallagher, it lays out the conditions and essential structures of musical absorption. Employing the lived experience of the DSQ members, it also engages and challenges core ideas in phenomenology, philosophy of mind, enactivism, expertise studies, musical psychology, flow theory, aesthetics, dream and sleep studies, psychopathology and social ontology, and proposes a method that integrates phenomenology and cognitive science. (shrink)

What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

Enactivist Interventions is an interdisciplinary work that explores how theories of embodied cognition illuminate many aspects of the mind, including perception, affect, and action. Gallagher argues that the brain is not secluded from the world or isolated in its own processes, but rather is dynamically connected with body and environment.

‘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)

This paper discusses two perspectives, each of which recognises the importance of environmental resources in enhancing and amplifying our cognitive capacity. One is the Clark–Chalmers model, extended further by Clark and others. The other derives from niche construction models of evolution, models which emphasise the role of active agency in enhancing the adaptive fit between agent and world. In the human case, much niche construction is epistemic: making cognitive tools and assembling other informational resources that support and scaffold intelligent action. (...) I shall argue that extended mind cases are limiting cases of environmental scaffolding, and while the extended mind picture is not false, the niche construction model is a more helpful framework for understanding human action. (shrink)

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

Based on a qualitative study about expert musicianship, this paper distinguishes three ways of interacting by putting them in relation to the sense of agency. Following Pacherie, it highlights that the phenomenology of shared agency undergoes a drastic transformation when musicians establish a sense of we-agency. In particular, the musicians conceive of the performance as one single action towards which they experience an epistemic privileged access. The implications of these results for a theory of collective intentionality are discussed by addressing (...) two general questions: When several individuals share an intention, does this fact secure plural self-knowledge? And is it possible to have non-observational knowledge about a collective action? It is claimed that the results drawn from the study about expert musicianship supports negative answers to both questions. (shrink)

Based on a qualitative study about expert musicianship, this paper distinguishes three ways of interacting by putting them in relation to the sense of agency. Following Pacherie, it highlights that the phenomenology of shared agency undergoes a drastic transformation when musicians establish a sense of we-agency. In particular, the musicians conceive of the performance as one single action towards which they experience an epistemic privileged access. The implications of these results for a theory of collective intentionality are discussed by addressing (...) two general questions: When several individuals share an intention, does this fact secure plural self-knowledge? And is it possible to have non-observational knowledge about a collective action? It is claimed that the results drawn from the study about expert musicianship supports negative answers to both questions. (shrink)

This paper on the phenomenology of joint agency proposes a foray into a little explored territory at the intersection of two very active domains of research: joint action and sense of agency. I explore two ways in which our experience of joint agency may differ from our experience of individual agency. First, the mechanisms of action specification and control involved in joint action are typically more complex than those present in individual actions, since it is crucial for joint action that (...) people coordinate their plans and actions. I discuss the implications that these coordination requirements might have for the strength of the sense of agency an agent may experience for a joint action. Second, engagement in joint action may involve a transformation of agentive identity and a partial or complete shift from a sense of self-agency to a sense of we-agency. I discuss several factors that may contribute to shaping our sense of agentive identity in joint action. (shrink)

A full account of purposive action must appeal not only to propositional attitude states like beliefs, desires, and intentions, but also to motor representations, i.e., non-propositional states that are thought to represent, among other things, action outcomes as well as detailed kinematic features of bodily movements. This raises the puzzle of how it is that these two distinct types of state successfully coordinate. We examine this so-called “Interface Problem”. First, we clarify and expand on the nature and role of motor (...) representations in explaining intentional action. Next, we characterize the respective functions of intentions and motor representations, the differences in representational format and content that these imply, and the interface challenge these differences in turn raise. We then evaluate Butterfill and Sinigaglia’s recent answer to this interface challenge, according to which intentions refer to action outcomes by way of demonstrative deference to motor representations. We present some worries for this proposal, arguing that, among other things, it implicitly presupposes a solution to the problem, and so cannot help to resolve it. Finally, we suggest that we may make some progress on this puzzle by positing a “content-preserving causal process” taking place between intentions and motor representations, and we offer a proposal for how this might work. (shrink)

The long-standing debate between cognitive and feeling theories of emotion stems, in part, from the assumption that cognition and thought are abstract, intellectual, disembodied processes, and that bodily feelings are non-intentional and have no representational content. Working with this assumption has led many emotions theorists to neglect the way in which emotions are simultaneously bodily and cognitive-evaluative. Even hybrid theories, such as those set forth by Prinz and Barlassina and Newen, fail to account fully for how the cognitive and bodily (...) elements of emotion are integrated. As a result, such accounts are unable to provide an adequate characterization of the intentionality or phenomenology of emotions. I will argue that an enactive account of emotions, one which characterizes them as a way of engaging with and making sense of one’s surroundings, can help us to overcome this false dichotomy between cognitive and body elements. What I call ‘ affective framing’ is at the core of emotional experience. It is the way in which we engage with and appraise our surroundings in and through bodily feelings of caring, so that the bodily and cognitive elements of emotion necessarily are fused. The notion of affective framing not only helps to clarify the relationship between bodily and cognitive elements of emotion, but also offers a useful way to make sense of both the intentional directedness and phenomenal character of emotional experience. (shrink)

This paper explicates how we might positively understand the distinctive, nonconceptual experience of our own actions and experiences by drawing on insights from a radically enactive take on phenomenal experience. We defend a late-developing relationalism about the emergence of explicit, conceptually based self-awareness, proposing that the latter develops in tandem with the mastery of self-reflective narrative practices. Focusing on the case of human newborns, Sect. 1 reviews and rejects claims that the capacities of actors to keep track of aspects of (...) themselves—e.g. their bodies, body parts, movements, activities, actions and experiences—when coordinating what they do equates to or is best explained by positing minimal, tacit awareness of their experiences as their own. Section 2 then considers and resists more familiar arguments, based on the so-called reflexivity thesis, that take such minimal self-awareness to be implied wherever there is any kind of phenomenal experience. In place of these ideas, we promote an alternative proposal of what is involved when agents keep track of aspects of themselves, drawing on a radically enactive conception of basic experience. Section 3 concludes by proposing that our first conceptual, explicit sense of self is something that only arrives on the scene once we become able to hold our own—through the support of others—in discursive, narrative practices that give us a conceptual grip on what it is to be a temporally extended self that persists over time. (shrink)

In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired interviews (...) with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself as coupled with the world. Understanding music-making as a pre-eminent case of exploration helps us explicate and appreciate the developmental, sensorimotor, and more advanced cognitive resources that exist in music-making activities. (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)

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)

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 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)

When reflecting on the nature of skilled action, it is easy to fall into familiar dichotomies such that one construes the flexibility and intelligence of skill at the level of intentional states while characterizing the automatic motor processes that constitute motor skill execution as learned but fixed, invariant, bottom-up, brute-causal responses. In this essay, I will argue that this picture of skilled, automatic, motor processes is overly simplistic. Specifically, I will argue that an adequate account of the learned motor routines (...) that constitute embodied skills cannot be given in a purely bottom-up, brute-causal fashion. Rather, motor control is intelligent all the way down. To establish this, I will first review two recent accounts of skill, Stanley and Krakauer (Front Hum Neurosci, 2013. doi:10.3389/fnhum.2013.0050) and Papineau (R Inst Philos Suppl 73:175–196, 2013), which characterize the automatic motor control responsible for the fine-grained movements constitutive of motor skill as brute, low-level phenomena. I will then isolate five key features that should apply to skilled motor control, if these accounts are correct. Together, the accounts posit that motor control is: (1) ballistic, (2) invariant, (3) independent of general action trajectories, (4) Insensitive to semantic content, and (5) independent of personal-level intentions. In the final section of this paper, I will appeal to optimal control theory for empirical evidence to challenge the commitment to skilled action as qualified by the above features. (shrink)

It is not rare in philosophy and psychology to see theorists fall into dichotomous thinking about mental phenomena. On one side of the dichotomy there are processes that I will label “unintelligent.” These processes are thought to be unconscious, implicit, automatic, unintentional, involuntary, procedural, and non-cognitive. On the other side, there are “intelligent” processes that are conscious, explicit, controlled, intentional, voluntary, declarative, and cognitive. Often, if a process or behavior is characterized by one of the features from either of the (...) above lists, the process or behavior is classified as falling under the category to which the feature belongs. For example, if a process is implicit this is usually considered sufficient for classifying it as “unintelligent” and for assuming that the remaining features that fall under the “unintelligent” grouping will apply to it as well. Accordingly, if a process or behavior is automatic, philosophers often consider it to be unintelligent. It is my goal in this paper to challenge the conceptual slip from “automatic” to “unintelligent”. I will argue that there are a whole range of properties highlighted by the existing psychological literature that make automaticity a much more complex phenomenon than is usually appreciated. I will then go on to discuss two further important relationships between automatic processes and controlled processes that arise when we think about automatic processes in the context of skilled behavior. These interactions should add to our resistance to classifying automaticity as unintelligent or mindless. In Sect. 1, I present a few representative cases of philosophers classifying automatic processes and behaviors as mindless or unintelligent. In Sect. 2, I review trends in the psychology of automaticity in order highlight a complex set of features that are characteristic, though not definitive, of automatic processes and behaviors. In Sect. 3, I argue that at least some automatic processes are likely cognitively penetrable. In Sect. 4, I argue that the structure of skilled automatic processes is shaped diachronically by practice, training and learning. Taken together, these considerations should dislodge the temptation to equate “automatic” with “unintelligent”. (shrink)

Can we accept John McDowell’s Kantian claim that perception is conceptual “all the way out,” thereby denying the more basic perceptual capacities we seem to share with prelinguistic infants and higher animals? More generally, can philosophers successfully describe the conceptual upper floors of the edifice of knowledge while ignoring the embodied coping going on on the ground floor? I argue that we shouldn’t leave the conceptual component of our lives hanging in midair and suggest how philosophers who want to understand (...) knowledge and action can profit from a phenomenological analysis of the nonconceptual embodied coping skills we share with animals and infants, as well as the nonconceptual immediate intuitive understanding exhibited by experts. (shrink)

This new essay collection by distinguished philosopher Margaret Gilbert provides a richly textured argument for the importance of joint commitment in our personal and public lives. Topics covered by this diverse range of essays range from marital love to patriotism, from promissory obligation to the unity of the European Union.

In this paper we list the various criticisms that have been formulated against introspection, from Auguste Comte denying that consciousness can observe itself, to recent criticisms of the reliability of first person descriptions. We show that these criticisms rely on the one hand on poor knowledge of the introspective process, and on the other hand on a naïve conception of scientific objectivity. Two kinds of answers are offered: the first one is grounded on a refined description of the process of (...) becoming aware of one's experience and describing it, the second one relies on a comparison with the methods of the experimental sciences. We conclude the article by providing a renewed definition of 'the truth' of a first person description. (shrink)

Much work on the sense of agency has focused either on abnormal cases, such as delusions of control, or on simple action tasks in the laboratory. Few studies address the nature of the sense of agency in complex natural settings, or the effect of skill on the sense of agency. Working from 2 case studies of mountain bike riding, we argue that the sense of agency in high-skill individuals incorporates awareness of multiple causal influences on action outcomes. This allows fine-grained (...) differentiation of the contributions of self and external factors to action outcomes. We further argue that the sense of agency incorporates prospective awareness of actions that are possible in a situation and awareness of the limits of control. These forms of sense of agency enable highly flexible, context-sensitive strategic control, and are likely to contribute to high interindividual variability in responses to complex tasks. (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)

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.

When two or more people coordinate their actions in space and time to produce a joint outcome, they perform a joint action. The perceptual, cognitive, and motor processes that enable individuals to coordinate their actions with others have been receiving increasing attention during the last decade, complementing earlier work on shared intentionality and discourse. This chapter reviews current theoretical concepts and empirical findings in order to provide a structured overview of the state of the art in joint action research. We (...) distinguish between planned and emergent coordination. In planned coordination, agents' behavior is driven by representations that specify the desired outcomes of joint action and the agent's own part in achieving these outcomes. In emergent coordination, coordinated behavior occurs due to perception action couplings that make multiple individuals act in similar ways, independently of joint plans. We review evidence for the two types of coordination and discuss potential synergies between them. (shrink)