Erik Myin

The Radical Enactive/embodied view of Cognition, or REC, claims that all cognition is a matter of skilled performance. Yet REC also makes a distinction between basic and content-involving cognition, arguing that the development of basic to content-involving cognition involves a kink. It might seem that this distinction leads to problematic gaps in REC’s story. We address two such alleged gaps in this paper. First, we identify and reply to the concern that REC leads to an “interface problem”, according to which REC has to account for the interaction of two minds co-present in the same cognitive activity. We emphasise how REC’s view of content-involving cognition in terms of activities that require particular sociocultural practices can resolve these interface concerns. The second potential problematic gap is that REC creates an unjustified difference in kind between animal and human cognition. In response, we clarify and further explicate REC’s notion of content, and argue that this notion allows REC to justifiably mark the distinction between basic and content-involving cognition as a difference in kind. We conclude by pointing out in what sense basic and content-involving cognitive activities are the same, yet different. They are the same because they are all forms of skilled performance, yet different as some forms of skilled performance are genuinely different from other forms.

Palmer's target article is surely one of the most scientifically detailed and knowledgeable treatments of spectrum inversion ever. Unfortunately, it is built on a very shaky philosophical foundation, the notion of the "intrinsic". In the article's ontology, there are two kinds of properties of mental states, intrinsic properties and relational properties. The whole point of the article is that these aspects of experience are mutually exclusive: the intrinsic is nonrelational and the relational is nonintrinsic

In this paper, I want to focus on the claim, prominently made by sensorimotor theorists, that perception is something we do. I will argue that understanding perceiving as a bodily doing allows for a strong non-dualistic position on the relation between experience and objective physical events, one which provides insight into why such relation seems problematic while at the same time providing means to relieve the tension. Next I will show how the claim that perception is something we do does not stand in opposition to, and is not refuted by, the fact that we often have perceptual experience without moving. In arguing that cases of motionless perception and perception-like experience are still doings it will be pointed out that the same interactive regularities which are engaged in in active perception still apply to them. Explaining how past interactive regularities can influence current perception or perception-like experience in a way which remains true to the idea that perception is a doing, so I will argue, can be done by invoking the past -- the past itself, however, not its representation. The resulting historical, non-representational sensorimotor approach can join forces with Gibsonian ecological psychology -- provided that such is also understood along lines that don't invoke externalist remnants of contents.

The target article appeals to recent empirical data to support the idea that there is more to phenomenality than is available to access consciousness. However, this claim is based on an unwarranted assumption, namely, that some kind of cortical processing must be phenomenal. The article also considerably weakens Block's original distinction between a truly nonfunctional phenomenal consciousness and a functional access consciousness. The new form of phenomenal consciousness seems to be a poor-man's cognitive access

Theorizing about perception is often motivated by a belief that without a way of ensuring that our perceptual experience correctly reflects the external world we cannot be sure that we perceive the world at all. Historically, coming up with a way of securing such epistemic contact has been a foundational issue in psychology. Recent ecological and enactive approaches challenge the requirement for perception to attain epistemic contact. This article aims to explicate this pragmatic starting point and the new direction of inquiry that this opens up for psychology. It does so by detailing the development of James J. Gibson’s ecological psychology. Securing epistemic contact has been a leitmotiv in Gibson’s early work, but subsequent developments in Gibson’s works can teach us what it takes to adopt a pragmatic approach to psychology. We propose a reading of the developments in Gibson’s original works that shows that, since perception is a mode of acting, perception aims for pragmatic contact before allowing for epistemic contact. Amplifying these pragmatist lines of thought in Gibson’s works we end by considering situations where an individual is adapted to the intricacies of specific social practices. These situations show how pragmatic contact can also afford attaining epistemic contact.

Inverted sensation arguments such as the inverted spectrum thought experiment are often criticized for relying on an unconstrained notion of 'qualia'. In reply to this criticism, 'qualia-free' arguments for inversion have been proposed, in which only physical changes happen: inversions in the world, such as the replacement of surface colors by their complements, and a rewiring of peripheral input cables to more central areas in the nervous system. I show why such constrained inversion arguments won't work. The first problem is that the world lacks the symmetry required to invert physical properties in the way required. The second problem concerns 'rewiring'. Empirical evidence indicates that the rewirings are either impossible, or would not result in an inversion of sensation. I propose the deeper reason for the failure of constrained inversion arguments lies in the fact that sensations are not properties of brain states, but spread into the world and the body.

Inverted sensation arguments such as the inverted spectrum thought experiment are often criticized for relying on an unconstrained notion of 'qualia'. In reply to this criticism, 'qualia-free' arguments for inversion have been proposed, in which only physical changes happen: inversions in the world, such as the replacement of surface colors by their complements, and a rewiring of peripheral input cables to more central areas in the nervous system. I show why such constrained inversion arguments won't work. The first problem is that the world lacks the symmetry required to invert physical properties in the way required. The second problem concerns 'rewiring'. Empirical evidence indicates that the rewirings are either impossible, or would not result in an inversion of sensation. I propose the deeper reason for the failure of constrained inversion arguments lies in the fact that sensations are not properties of brain states, but spread into the world and the body

REC, or the radical enactive/embodied view of cognition makes a crucial distinction between basic and content-involving cognition. This paper clarifies REC’s views on basic and content-involving cognition, and their relation by replying to a recent criticism claiming that REC is refuted by evidence on affordance perception. It shows how a correct understanding of how basic and contentless cognition relate allows to see how REC can accommodate this evidence, and thus can afford affordance perception.

Music raises many problems for those who would understand it more deeply. It is rooted in time, yet timeless. It is pure form, yet conveys emotion. It is written, but performed, interpreted, improvised, transcribed, recorded, sampled, remixed, revised, rebroadcast, reinterpreted, and more. Music can be studied by philosophers, psychologists, sociologists, mathematicians, biologists, computer scientists, neuro-scientists, critics, politicians, promoters, and of course musicians. Moreover, no single perspective seems either sufficient or invalid. This situation is not so different from that of other arts, but perhaps more intense, due to the pervasiveness of pop, the inaccessability of much contemporary classical music, the strong cultural associations of many styles , the infusions of technology, and the combination with lyrics

Two kinds of vision science are distinguished: a representational versus a nonrepresentational one. Seeing in the former is conceived of as creating an internal replica of the external world, while in the latter seeing is taken to be a process of active engagement with the environment. The potential of each theory for elucidating artistic creation and aesthetic appreciation is considered, necessarily involving some comments on visual consciousness. This discussion is intended as a background against which various themes of the papers light up.

Theorizing about perception is often motivated by a belief that without a way of ensuring that our perceptual experience correctly reflects the external world we cannot be sure that we perceive the world at all. Historically, coming up with a way of securing such epistemic contact has been a foundational issue in psychology. Recent ecological and enactive approaches challenge the requirement for perception to attain epistemic contact. This article aims to explicate this pragmatic starting point and the new direction of inquiry that this opens up for psychology. It does so by detailing the development of James J. Gibson’s ecological psychology. Securing epistemic contact has been a leitmotiv in Gibson’s early work, but subsequent developments in Gibson’s works can teach us what it takes to adopt a pragmatic approach to psychology. We propose a reading of the developments in Gibson’s original works that shows that, since perception is a mode of acting, perception aims for pragmatic contact before allowing for epistemic contact. Amplifying these pragmatist lines of thought in Gibson’s works we end by considering situations where an individual is adapted to the intricacies of specific social practices. These situations show how pragmatic contact can also afford attaining epistemic contact.

Theorizing about perception is often motivated by a belief that without a way of ensuring that our perceptual experience correctly reflects the external world we cannot be sure that we perceive the world at all. Historically, coming up with a way of securing such epistemic contact has been a foundational issue in psychology. Recent ecological and enactive approaches challenge the requirement for perception to attain epistemic contact. This article aims to explicate this pragmatic starting point and the new direction of inquiry that this opens up for psychology. It does so by detailing the development of James J. Gibson’s ecological psychology. Securing epistemic contact has been a leitmotiv in Gibson’s early work, but subsequent developments in Gibson’s works can teach us what it takes to adopt a pragmatic approach to psychology. We propose a reading of the developments in Gibson’s original works that shows that, since perception is a mode of acting, perception aims for pragmatic contact before allowing for epistemic contact. Amplifying these pragmatist lines of thought in Gibson’s works we end by considering situations where an individual is adapted to the intricacies of specific social practices. These situations show how pragmatic contact can also afford attaining epistemic contact.

This commentary questions the target article’s claim that enactivism and representationalism, even in an allegedly weak form, are compatible. We argue that, for a viable enactivism, it is the notion of contentless interaction that must be turned to in order to account for basic cognition, including basic color perception. Enactivism so construed can provide all the benefits the authors want: it can question exaggerated forms of objectivism, without incurring the costs that holding on to contentful representation as a naturalistically unexplained ingredient in basic cognition implies.

There is a popular view on depiction which holds that convincingly realistic paintings depict their subjects through evoking in the spectator the illusion of seeing these very subjects face to face. There is, as it were, an exact 'match' between the visual experience of seeing something in a picture and the corresponding visual experience one would entertain if one were to stand in front of the real thing. This view, which we shall call 'illusionism', supports the widespread assumption that some kinds of pictures -- notably post-Renaissance perspective paintings -- provide the correct, 'natural' way to depict physical space because they capture the way the visual system enables one to see the world. The most notable defence of illusionism has been offered by Ernst Gombrich. In his Art and Illusion, Gombrich argues that the development of Western art consists in a series of discoveries about the nature of visual perception that eventually lead to pictorial techniques that are able to elicit illusionary visual experiences on part of the spectator and thus reach the perfection of naturalistic representation.

Music raises many problems for those who would understand it more deeply. It is rooted in time, yet timeless. It is pure form, yet conveys emotion. It is written, but performed, interpreted, improvised, transcribed, recorded, sampled, remixed, revised, rebroadcast, reinterpreted, and more. Music can be studied by philosophers, psychologists, sociologists, mathematicians, biologists, computer scientists, neuro-scientists, critics, politicians, promoters, and of course musicians. Moreover, no single perspective seems either sufficient or invalid. This situation is not so different from that of other arts, but perhaps more intense, due to the pervasiveness of pop, the inaccessability of much contemporary classical music, the strong cultural associations of many styles, the infusions of technology, and the combination with lyrics.