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70Enacting musical emotions. sense-making, dynamic systems, and the embodied mindPhenomenology and the Cognitive Sciences 16 (5): 785-809. 2017.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 …Read more
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65Rethinking Musical AffordancesAvant: Trends in Interdisciplinary Studies 3 (2): 202-215. 2012.The notion of affordance has been introduced by Gibson (1977, 1979) as the feature of an object or the environment that allows the observer to perform an action, a set of “environmental supports for an organism’s intentional activities” (Reybrouck 2005). Studied under very different perspectives, this concept has become a crucial issue not only for the ecological psychology, but also for cognitive sciences, artificial intelligence studies, and philosophy of mind. This variety of approaches has w…Read more
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56Moving Ourselves, Moving Others: Motion and Emotion in Intersubjectivity, Consciousness, and LanguagePhilosophical Psychology 28 (5): 735-739. 2015.
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35When the Sound Becomes the Goal. 4E Cognition and Teleomusicality in Early InfancyFrontiers in Psychology 8. 2017.
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24Exploratory expertise and the dual intentionality of music-makingPhenomenology and the Cognitive Sciences 20 (5): 811-829. 2019.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 …Read more
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20Enactive affordances and the interplay of biological and phenomenological subjectivityConstructivist Foundations 11 (2): 315-317. 2016.Open peer commentary on the article “Perception-Action Mutuality Obviates Mental Construction” by Martin Flament Fultot, Lin Nie & Claudia Carello. Upshot: Enactive approaches highlight the deep interdependency of brains, action, agency, and environment in shaping the world we inhabit. This perspective goes beyond input-output models of cognition, postulating instead closed loops of action and perception framed by the agent-environment complementarity. As a unique, dynamical, system, no represen…Read more
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17Creative Togetherness. A Joint-Methods Analysis of Collaborative Artistic PerformanceFrontiers in Psychology 13. 2022.In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews base…Read more
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15Optimizing Performative Skills in Social Interaction: Insights From Embodied Cognition, Music Education, and Sport PsychologyFrontiers in Psychology 10. 2019.Embodied approaches to cognition conceive of mental life as emerging from the ongoing relationship between neural and extra-neural resources. The latter include, first and foremost, our entire body, but also the activity patterns enacted within a contingent milieu, cultural norms, social factors, and the features of the environment that can be used to enhance our cognitive capacities (e.g., tools, devices, etc.). Recent work in music education and sport psychology has applied general principles …Read more
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13In a newly designed collaborative online music course, four musical novices unknown to each other learned to play the clarinet starting from zero. Over the course of 12 lessons, a special emphasis was placed on creativity, mutual interaction, and bodily movement. Although addressing these dimensions might be particularly challenging in distance learning contexts, a thematic analysis of semi-structured interviews with the learners revealed how the teaching approach proposed has generally facilita…Read more
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11Constituting the musical object: a neurophenomenological perspective on musical researchTeorema: International Journal of Philosophy 31 (3): 63-80. 2012.
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8Editorial: Towards a Meaningful Instrumental Music Education. Methods, Perspectives, and ChallengesFrontiers in Psychology 11. 2020.
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6Music Teachers’ Perspectives and Experiences of Ensemble and Learning SkillsFrontiers in Psychology 11. 2020.
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1The Ecological Dynamics of Musical Creativity and Skill AcquisitionIn Alfonsina Scarinzi (ed.), Meaningful Relations: The Enactivist Making of Experiential Worlds, Academia – Ein Verlag in Der Nomos Verlagsgesellschaft. pp. 121-158. 2021.
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1Beyond Musical Qualia: Reflecting on the Concept of ExperiencePsychomusicology 26 (4): 366-378. 2016.In this paper, we take a critical look at the notion of musical qualia. Although different conceptions of qualia are often used by theorists to describe musical experience, there is little consensus as to just what this entails. Broadly speaking, some argue that qualia are best understood as pregiven attributes of the musical environment, whereas others insist that they are products of information processing confined within the boundaries of the skull. We critically examine these positions and c…Read more