Joel Krueger

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

Until recently, philosophers and psychologists conceived of emotions as brain- and body-bound affairs. But researchers have started to challenge this internalist and individualist orthodoxy. A rapidly growing body of work suggests that some emotions incorporate external resources and thus extend beyond the neurophysiological confines of organisms; some even argue that emotions can be socially extended and shared by multiple agents. Call this the extended emotions thesis. In this article, we consider different ways of understanding ExE in philosophy, psychology, and the cognitive sciences. First, we outline the background of the debate and discuss different argumentative strategies for ExE. In particular, we distinguish ExE from cognate but more moderate claims about the embodied and situated nature of cognition and emotion. We then dwell upon two dimensions of ExE: emotions extended by material culture and by the social factors. We conclude by defending ExE against some objections and point to desiderata for future research.

Film and television portrayals of posthuman cyborgs melding biology and technology, simultaneously “animal and machine” abound. Most of us immediately think of iconic characters like Arnold Schwarzenegger’s relentless cyborg assassin in the Terminator series or Peter Weller’s crime-fighting cyborg police officer in Robocop (1987). Or perhaps we recall the many cyborgs populating the Dr. Who, Star Trek, and Star Wars television series and films—including Darth Vader, surely the most famous cinematic cyborg of all time. But lesser-known explorations of cybernetic embodiment have appeared in film and television for many decades. And not all portrayals involve the sort of extreme transformations exemplified by these iconic characters. This chapter considers some of different ways that film and television have explored the transformative relation between embodiment and technology.

William James’s characterization of consciousness as a selecting agency can be used to develop and defend an externalist view of mind. The mind – including the content of phenomenal consciousness – is in an important sense distributed beyond the skin and skull of the subject, out into the world of people and things. Moreover, conscious experience is an action, and not simply something that happens to us. Consciousness, perception, and experience are activities – in other words, things that we do.

What does it mean to say that an emotion can be shared? I consider this question, focusing on the relation between the phenomenology of emotion experience and self-regulation. I explore the idea that a numerically single emotion can be given to more than one subject. I term this a “collective emotion”. First, I consider different forms of emotion regulation. I distinguish between embodied forms of self-regulation, which use subject-centered features of our embodiment, and distributed forms of self-regulation, which incorporate resources beyond the subject. Next, I focus on the latter. After discussing the possibility of musically distributed emotion regulation, I consider interpersonally distributed emotion regulation. I then examine Max Scheler’s (1954) phenomenological characterization of the shared grief experienced by the parents of a recently-deceased child. Drawing on the notion of interpersonally distributed emotion regulation, I argue that, with some further clarifications, Scheler’s example gives us a plausible example of a collective emotion. I conclude by briefly indicating why the notion of collective emotions may be of broader interest to debates in both philosophy of mind and emotion science.

I offer a preliminary defense of the hypothesis of extended emotions (HEE). After discussing some taxonomic considerations, I specify two ways of parsing HEE: the hypothesis of bodily extended emotions (HEBE), and the hypothesis of environmentally extended emotions (HEEE). I argue that, while both HEBE and HEEE are empirically plausible, only HEEE covers instances of genuinely extended emotions. After introducing some further distinctions, I support one form of HEEE by appealing to different streams of empirical research—particularly work on music and emotion regulation. However, I register skepticism about a second and more radical form of HEEE.

In this essay, I investigate Kitarō Nishida's characterization of what he refers to as the 'self-contradictory' body. First, I clarify the conceptual relation between the self-contradictory body and Nishida's notion of 'acting-intuition'. I next look at Nishida's analysis of acting-intuition and the self-contradictory body as it pertains to our personal, sensorimotor engagement with the world and things in it, as well as to our bodily immersion within the intersubjective and social world. Along the way, I argue that Nishida develops a rich and exceedingly current way of thinking through different facets of embodiment and interpersonal relatedness. I further argue that Nishida's work provides compelling reasons to foreground the mutually implicative, co-emergent nature of embodied self and world in our theorizing about the nature of self and experience.

In this comparative study, we examine experiential disruptions of embodiment and affectivity in Moebius Syndrome and schizophrenia. We suggest that using phenomenological resources to explore these experiences may help us better understand what it’s like to live with these conditions, and that such an understanding may have significant therapeutic value. Additionally, we suggest that this sort of phenomenologically-informed comparative analysis can shed light on the importance of embodiment and affectivity for the constitution of a sense of self and interpersonal relatedness in normal conditions.

The extended mind thesis (EM) asserts that some cognitive processes are (partially) composed of actions consisting of the manipulation and exploitation of environmental structures. Might some processes at the root of social cognition have a similarly extended structure? In this paper, I argue that social cognition is fundamentally an interactive form of space management—the negotiation and management of ‘‘we-space”—and that some of the expressive actions involved in the negotiation and management of we-space (gesture, touch, facial and whole-body expressions) drive basic processes of interpersonal understanding and thus do genuine social-cognitive work. Social interaction is a kind of extended social cognition, driven and at least partially constituted by environmental (non-neural) scaffolding. Challenging the Theory of Mind paradigm, I draw upon research from gesture studies, developmental psychology, and work on Moebius Syndrome to support this thesis.

One of the leading cognitive models of auditory verbal hallucinations (AVHs) proposes such experiences result from a disturbance in the process by which inner speech is attributed to the self. Research in this area has, however, proceeded in the absence of thorough cognitive and phenomenological investigations of the nature of inner speech, against which AVHs are implicitly or explicitly defined. In this paper we begin by introducing philosophical phenomenology and highlighting its relevance to AVHs, before briefly examining the evolving literature on the relation between inner experiences and AVHs. We then argue for the need for philosophical phenomenology (Phenomenology) and the traditional empirical methods of psychology for studying inner experience (phenomenology) to mutually inform each other to provide a richer and more nuanced picture of both inner experience and AVHs than either could on its own. A critical examination is undertaken of the leading model of AVHs derived from phenomenological philosophy, the ipseity disturbance model. From this we suggest issues that future work in this vein will need to consider, and examine how interdisciplinary methodologies may contribute to advances in our understanding of AVHs. Detailed suggestions are made for the direction and methodology of future work into AVHs, which we suggest should be undertaken in a context where phenomenology and physiology are both necessary, but neither sufficient.

This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other things, (1) emotion regulation and (2) social coordination. When we do things with music, we are engaged in the work of creating and cultivating the self, as well as creating and cultivating a shared world that we inhabit with others. I develop this thesis by first introducing the notion of a musical affordance . Next, I look at how emotional affordances in music are exploited to construct and regulate emotions. I summon empirical research on neonate music therapy to argue that this is something we emerge from the womb knowing how to do. I then look at social affordances in music, arguing that joint attention to social affordances in music alters how music is both perceived and appropriated by joint attenders within social listening contexts. In support, I describe the experience of listening to and engaging with music in a live concert setting. Thinking of music as an affordance-laden structure thus reaffirms the crucial role that music plays in constructing and regulating emotional and social experiences in everyday life.

The extended mind thesis claims that mental states need not be confined to the brain or even the biological borders of the subject. Philosophers and cognitive scientists have in recent years debated the plausibility of this thesis, growing an immense body of literature. Yet despite its many supporters, there have been relatively few attempts to apply the thesis to religious studies, particularly studies of religious cognition. In this essay, I indicate how various dimensions of religious cognition might be thought of as extended. In particular, I focus on the mutually-supporting relationship between religious cognition and material culture: the many things we use to organize and enact our religious practices and beliefs, from relics and rituals to songs and holy spaces. As we’ll see, taking the extended mind thesis seriously suggests that an investigation of religious material culture is, simultaneously, an investigation of religious cognition.

The aim of this essay is to situate the thought of Tetsurō Watsuji within contemporary approaches to social cognition. I argue for Watsuji’s current relevance, suggesting that his analysis of embodiment and social space puts him in step with some of the concerns driving ongoing treatments of social cognition in philosophy of mind and cognitive science. Yet, as I will show, Watsuji can potentially offer a fruitful contribution to this discussion by lending a phenomenologically informed critical perspective. This is because Watsuji challenges the internalist and cognitivist presuppositions informing the currently dominant “Theory of Mind” paradigm that is driving much social cognition research. Additionally, I show that Watsuji’s alternative model is not merely confined to the realm of phenomenological description but that it also receives robust empirical support from a number of different sources. I thus hope to open up aspects of Watsuji’s thinking that have yet to be fully appreciated.

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

In the exploratory study reported here, we tested the efficacy of an intervention designed to train teenagers with Möbius syndrome (MS) to increase the use of alternative communication strategies (e.g., gestures) to compensate for their lack of facial expressivity. Specifically, we expected the intervention to increase the level of rapport experienced in social interactions by our participants. In addition, we aimed to identify the mechanisms responsible for any such increase in rapport. In the study, five teenagers with MS interacted with three naïve participants without MS before the intervention, and with three different naïve participants without MS after the intervention. Rapport was assessed by self-report and by behavioral coders who rated videos of the interactions. Individual non-verbal behavior was assessed via behavioral coders, whereas verbal behavior was automatically extracted from the sound files. Alignment was assessed using cross recurrence quantification analysis and mixed-effects models. The results showed that observer-coded rapport was greater after the intervention, whereas self-reported rapport did not change significantly. Observer-coded gesture and expressivity increased in participants with and without MS, whereas overall linguistic alignment decreased. Fidgeting and repetitiveness of verbal behavior also decreased in both groups. In sum, the intervention may impact non-verbal and verbal behavior in participants with and without MS, increasing rapport as well as overall gesturing, while decreasing alignment.