Clement Canonne

In the last twenty years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the “Phineas Gage effect”. However, normativity extends beyond morality. In particular, it is unknown whether changes in aesthetic value have a similar impact on identity judgments. We investigate whether works of art would be analogously seen as essentially aesthetically valuable. We ran four studies (N=1264) to explore whether aesthetic considerations have a similar influence on judgments of the identity of artworks. We presented the participants with stories describing either a painting or a musical work which undergoes changes and becomes either more or less aesthetically valuable. Overall, we found only mixed evidence for the Phineas Gage effect in relation to the aesthetic value of artworks. Other factors, such as moral value, seem to have a bigger impact on judgments of persistence.

This paper introduces freely improvised joint actions, a class of joint actions characterized by highly unspecific goals and the unavailability of shared plans. For example, walking together just for the sake of walking together with no specific destination or path in mind provides an ordinary example of FIJAs, along with examples in the arts, e.g., collective free improvisation in music, improv theater, or contact improvisation in dance. We argue that classic philosophical accounts of joint action such as Bratman’s rule them out because the latter require a capacity for planning that is idle in the case of FIJAs. This argument is structurally similar to arguments for minimalist accounts of joint action, and this invites a parallel minimalist account, which we provide in terms of a specific kind of shared intentions that do not require plan states. We further argue that the resulting minimalist account is different in kind from the sort of minimalism suggested by developmental considerations and conclude in favor of a pluralistic minimalism, according to which there are several ways for an account of joint action to be minimal.

Joint actions typically involve a sense of togetherness that has a distinctive phenomenological component. While it has been hypothesized that group size, hierarchical structure, division of labour, and expertise impact agents’ phenomenology during joint actions, the studies conducted so far have mostly involved dyads performing simple actions. We explore in this study the complex case of collectively improvised musical performances, focusing particularly on the way group size and interactional patterns modulate the phenomenology of joint action. We recorded two expert improvisation ensembles of contrasting sizes and collected data about their musical behaviour, as well as reports about five aspects of their phenomenology and about their musical intentions. Our overall data enabled us to assess how those five phenomenological dimensions related to one another during jointly improvised performances. They also show how such phenomenology varied with the way improvisers dynamically related to one another throughout the performance. Finally, we observe that group size strongly altered the phenomenology of improvisers who otherwise shared many characteristics. Our study thus sheds light on the interactional and structural parameters that shape and modulate our felt experience when acting together, and thereby highlights the importance of pluralism for studying the phenomenology of joint action.

Human interactions are often improvised rather than scripted, which suggests that efficient coordination can emerge even when collective plans are largely underspecified. One possibility is that such forms of coordination primarily rely on mutual influences between interactive partners, and on perception–action couplings such as entrainment or mimicry. Yet some forms of improvised joint actions appear difficult to explain solely by appealing to these emergent mechanisms. Here, we focus on collective free improvisation, a form of highly unplanned creative practice where both agents' subjective reports and the complexity of their interactions suggest that shared intentions may sometimes emerge to support coordination during the course of the improvisation, even in the absence of verbal communication. In four experiments, we show that shared intentions spontaneously emerge during collective musical improvisations, and that they foster coordination on multiple levels, over and beyond the mere influence of shared information. We also show that musicians deploy communicative strategies to manifest and propagate their intentions within the group, and that this predicts better coordination. Overall, our results suggest that improvised and scripted joint actions are more continuous with one another than it first seems, and that they differ merely in the extent to which they rely on emergent or planned coordination mechanisms.

A recently emerging view in music cognition holds that music is not only social and participatory in its production, but also in its perception, i.e. that music is in fact perceived as the sonic trace of social rela- tions between a group of real or virtual agents. While this view appears compatible with a number of intriguing music cognitive phenomena, such as the links between beat entrainment and prosocial behaviour or between strong musical emotions and empathy, direct evidence is lacking that listeners are at all able to use the acoustic features of a musical interaction to infer the affiliatory or controlling nature of an underlying social intention. We created a novel experimental situation in which we asked expert music improvisers to communicate 5 types of non-musical social intentions, such as being domineering, dis- dainful or conciliatory, to one another solely using musical interaction. Using a combination of decoding studies, computational and psychoacoustical analyses, we show that both musically-trained and non musically-trained listeners can recognize relational intentions encoded in music, and that this social cognitive ability relies, to a sizeable extent, on the information processing of acoustic cues of temporal and harmonic coordination that are not present in any one of the musicians’ channels, but emerge from the dynamics of their interaction. By manipulating these cues in two-channel audio recordings and testing their impact on the social judgements of non-musician observers, we finally establish a causal relationship between the affiliation dimension of social behaviour and musical harmonic coordination on the one hand, and between the control dimension and musical temporal coordination on the other hand. These results provide novel mechanistic insights not only into the social cognition of musical interactions, but also into that of non-verbal interactions as a whole.

This paper introduces freely improvised joint actions, a class of joint actions characterized by highly unspecific goals and the unavailability of shared plans. For example, walking together just for the sake of walking together with no specific destination or path in mind provides an ordinary example of FIJAs, along with examples in the arts, e.g., collective free improvisation in music, improv theater, or contact improvisation in dance. We argue that classic philosophical accounts of joint action such as Bratman’s rule them out because the latter require a capacity for planning that is idle in the case of FIJAs. This argument is structurally similar to arguments for minimalist accounts of joint action, and this invites a parallel minimalist account, which we provide in terms of a specific kind of shared intentions that do not require plan states. We further argue that the resulting minimalist account is different in kind from the sort of minimalism suggested by developmental considerations and conclude in favor of a pluralistic minimalism, according to which there are several ways for an account of joint action to be minimal.