Ingar Brinck

We trace the difference between the ways in which apes and humans co–operate to differences in communicative abilities, claiming that the pressure for future–directed co–operation was a major force behind the evolution of language. Competitive co–operation concerns goals that are present in the environment and have stable values. It relies on either signalling or joint attention. Future–directed co–operation concerns new goals that lack fixed values. It requires symbolic communication and context–independent representations of means and goals. We analyse these ways of co–operating in game–theoretic terms and submit that the co–operative strategy of games that involve shared representations of future goals may provide new equilibrium solutions.

The present account explains (i) which elements of nonverbal reference are intersubjective, (ii) what major effects intersubjectivity has on the general development of intentional communication and at what stages, and (iii) how intersubjectivity contributes to triggering the general capacity for nonverbal reference in the second year of life. First, intersubjectivity is analysed in terms of a sharing of experiences that is either mutual or individual, and either dyadic or triadic. Then it is shown that nonverbal reference presupposes intersubjectivity in communicative intent indicating and referential behaviour, and indirectly in modifications of previous behaviour in response to communication failure. It is argued that different forms of intersubjectivity entail different types of communicative skills. A comprehensive analysis of data on gaze-related intersubjective behaviour in young infants shows that interaffectivity and interattentionality enable referential skills early in development and together allow for complex behaviour. Early referential skills, it is proposed, arise by other mechanisms than in nonverbal reference. Reliable and consistent use of nonverbal reference occurs when interaffectivity and interattentionality coalesce with interintentionality, which affords general cognitive skills that together permit a decontextualisation of communicative behaviour.

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways.