John Sutton

In Tulving’s initial characterization, episodic memory was one of multiple memory systems. It was postulated, in pursuit of explanatory depth, as displaying proprietary operations, representations, and substrates such as to explain a range of cognitive, behavioural, and experiential phenomena. Yet the subsequent development of this research program has, paradoxically, introduced surprising doubts about the nature, and indeed existence, of episodic memory. On dominant versions of the ‘common system’ view, on which a single simulation system underlies both remembering and imagining, there are no processes unique to memory to support robust generalizations with inductive potential. Eliminativism about episodic memory seems to follow from the claim that it has no dedicated neurocognitive system of its own. After identifying this under-noticed threat, we push back against modern eliminativists by surveying recent evidence that still indicates specialized mechanisms, computations, and representations that are distinctly mnemic in character. We argue that contemporary realists about episodic memory can retain lessons of the common system approach while resisting the further move to eliminativism.

As a topic in the philosophy of psychology, dreaming is a fascinating, diverse, and severely underdeveloped area of study. The topic excites intense public interest in its own right, while also challenging our confidence that we know what the words “conscious” and “consciousness” mean. So dreaming should be at the forefront of our interdisciplinary investigations: theories of mind which fail to address the topic are incomplete. This chapter illustrates the tight links between conceptual and empirical issues by highlighting surprisingly deep disagreements among leading dream scientists over what might seem basic aspects of their topic.

The imagery we adopt when recalling the personal past may involve different perspectives. In many cases, we remember the past event from our original point of view. In some cases, however, we remember the past event from an external “observer” perspective and view ourselves in the remembered scene. Are such observer perspective images genuine memories? Are they accurate representations of the personal past? This chapter focuses on such observer perspectives in memory, and outlines and examines proposals about the nature of such imagery.

To better understand the nature of joint expertise and its underlying processes, we need not only analyses of the general conditions for skilled group action, but also descriptive accounts of the features and dimensions that vary across distinct performances and contexts, such as sport and the arts. And in addition to positioning our accounts against current models of individual skill, we need concepts and lessons from work on collaborative processes in other cognitive domains. This paper examines ecological or situational components of expert joint action in practice, then offers a selective survey of some key cognitive and affective resources that shape and transform group performance.

We remember in social contexts. We reminisce about the past together, collaborate to remember shared experiences, and, even when we are alone, we remember in the context of our communities and cultures. Taking an interdisciplinary approach throughout, this text comprehensively covers collaborative remembering across the fields of developmental psychology, cognitive psychology, social psychology, discourse processing, philosophy, neuropsychology, design, and media studies. It highlights points ofoverlap and contrast across the many disciplinary perspectives and, with its sections on "Approaches of Collaborative Remembering" and "Applications of Collaborative Remembering", also connects basic and applied research.Written with late-stage undergraduates and early-stage graduates in mind, the book is also a valuable tool for memory specialists and academics in the fields of psychology, cognitive science and philosophy who are interested in collaborative memory research.

Cutting-edge scholarship in performance studies, cognitive science, sociology, literature, psychology, philosophy and sport science is brought together to ask: What do individuals bring to and do in collaborative embodied performance? How do group members with distinct capacities complement each other in skilled action? Innovative methodological approaches are applied to detailed case studies from martial arts, tango, social interaction, English Restoration Theatre, Body Weather, traditional and digitally-informed experiences of music composition, and failing at handstands. Each investigation exposes performance and theory as mutually revealing, informative and captivating. Short chapters fall into thematic clusters exploring embodied coordination, cognition, and collaboration, followed by commentaries from leading scholars in performance studies and cognitive science. Each brings to light different facets of the performance ecology present in the collaborative moment, equipping performance makers, students and researchers with theoretical, methodological and practical inspiration to delve deeper into their own embodied practices and critical thinking.

Recalling autobiographical memories with others can influence the quality of recall, but little is known about how features of the group influence memory outcomes. In two studies, we examined how the products and processes of autobiographical recall depend on individual vs. collaborative remembering and the relationship between group members. In both studies, dyads of strangers, friends, and siblings recalled autobiographical events individually (elicitation), then either collaboratively or individually (recall). Study 1 involved typing memory narratives; Study 2 involved recalling aloud. We examined shifts in vividness, emotionality, and pronoun use within memory narratives produced by different relationship types. In Study 2, we also coded collaborative dyads’ “collaborative processes” or communication processes. In Study 1, all relationships showed decreased positive emotion and I-pronouns and increased negative emotion within collaboratively-produced memory narratives. In Study 2, all relationships showed increased vividness, reduced emotionality and positive and negative emotion, and increased I- and we-pronouns within collaborativelyproduced memory narratives. However, strangers used collaborative processes differently from friends and siblings. Some collaborative processes were associated with memory qualities. Across studies, collaboration influenced memory quality more than did relationship type, but relationship type influenced dyads’ recall dynamics. These findings indicate the complexity of social influences on memory.

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band.

As one of the first readers of this fine collection of chapters in improvisation studies, I’ve been interactively constructing my experiences and interpretations of the chapters as I go along. Engaged reading – like all our characteristic activities – has a substantial improvisatory dimension. Readers are neither passively downloading data transmitted fully formed from the contributors’ minds nor making up whatever we like, projecting our own views onto a blank slate of a book. In forging and sharing here my own idiosyncratic responses, I reach out to other, future readers by welcoming and inviting creative pushback, aiming to open up options, to accept and expand on the rich fare these authors offer us.

Observational learning can enhance the acquisition and performance quality of complex motor skills. While an extensive body of research has focused on the benefits of synchronous (i.e., concurrent physical practice) and non-synchronous (i.e., delayed physical practice) observational learning strategies, the question remains as to whether these approaches differentially influence performance outcomes. Accordingly, we investigate the differential outcomes of synchronous and non-synchronous observational training contexts using a novel dance sequence. Using multidimensional cross-recurrence quantification analysis, movement time-series were recorded for novice dancers who either synchronised with (n = 22) or observed and then imitated (n = 20) an expert dancer. Participants performed a 16-count choreographed dance sequence for 20 trials assisted by the expert, followed by one final, unassisted performance trial. Although end-state performance did not significantly differ between synchronous and non-synchronous learners, a significant decline in performance quality from imitation to independent replication was shown for synchronous learners. A non-significant positive trend in performance accuracy was shown for non-synchronous learners. For all participants, better imitative performance across training trials led to better end-state performance, but only for the accuracy (and not timing) of movement reproduction. Collectively, the results suggest that synchronous learners came to rely on a realtime mapping process between visual input from the expert and their own visual and proprioceptive intrinsic feedback, to the detriment of learning. Thus, the act of synchronising alone does not ensure an appropriate training context for advanced sequence learning.

Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on dubious individualist assumptions about creative minds. Such a misapprehension is effacing the public value that a more inclusive and accurate understanding of filmmaking offers. By “public value” we mean the potential to enhance social and cultural well-being, particularly in working lives and collaborative undertakings in the screen industries. Better understanding of the systemic and social nature of creativity in filmmaking can potentially help in democratising aesthetics, which we consider a clear public good

Rather than conserving or ignoring historically burdened heritage, RAAAF intervene. Their responses are striking, sometimes dramatic or destructive. Prompted by Rietveld’s discussion of the Luftschloss project, I compare some other places with difficult pasts which engage our embodied and sensory responses, without such active redirection or disruption. Ross Gibson’s concept of a ‘memoryscope’ helps us identify distinct but complementary ways of focussing the forces of the past. Emotions and imaginings are transmitted over time in many forms. The past is not easily washed, blasted or sliced away. By considering other settings and modes of encounter, we can recognise and applaud the novelty of RAAAF’s interventions while urging further attention to the variable dynamics and rhythms of remembering and of sociomaterial residues.

In the first two chapters of his 1925 book Les cadres sociaux de la mémoire (The Social Frameworks of Memory), the French sociologist Maurice Halbwachs (1877-1945) develops a sustained comparison between remembering and dreaming. Engaging in detail with large bodies of contemporary research in psychology, physiology, philosophy, and linguistics, he aims to combat what he calls the ‘surprising’ tendency of ‘psychological treatises that deal with memory’ to treat each of us as ‘an isolated being’ (1925/ 1994, vi) 1. In the course of making a case that memory is deeply situated and social, Halbwachs offers a subtle and challenging treatment of dreams.

The imagery we adopt when recalling the personal past may involve different perspectives. In many cases, we remember the past event from our original point of view. In some cases, however, we remember the past event from an external “observer” perspective and view ourselves in the remembered scene. Are such observer perspective images genuine memories? Are they accurate representations of the personal past? This chapter focuses on such observer perspectives in memory, and outlines and examines proposals about the nature of such imagery.

Open peer commentary on the article “Beyond Individual-Centred 4E Cognition: Systems Biology and Sympoiesis” by Mads Julian Dengsø & Michael David Kirchhoff. Abstract: Dengsø and Kirchhoff offer a revised dynamic conception of the individual in place of the bounded cognitive agent of classical cognitive science. However, this may not be sufficiently robust to ground the enquiries into individual and cultural differences that remain vital in the proposed “deterritorialized cognitive science.” It also needs to make contact with rich traditions of 4E research on socially distributed cognition, which are neglected in Dengsø and Kirchhoff’s critique. It is just because individualization is a fragile process, and because boundaries are hard-won achievements, that anti-individualists who highlight the multiplicity, heterogeneity, and dynamism of cognitive ecologies must reconfigure rather than eliminate or efface the individual.

To investigate the unique kinds of mentality involved in skilled performance, this paper explores the performance ecology of the Māori haka, a ritual form of song and dance of the indigenous people of Aotearoa New Zealand. We respond to a recent proposal to program robots to perform a haka as ‘cultural preservationists’ for ‘intangible cultural heritage’. This ‘Robot Māori Haka’ proposal raises questions about the nature of skill and the transmission of embodied knowledge; about the cognitive and affective experiences cultivated in indigenous practices like haka; and about the role of robots in the archival aspirations of human societies. Reproducing haka, we suggest, requires more than copying physical actions; preserving the ‘intangible’ entails more than programming postures and movements. To make this case, we discuss the history of European responses to the haka, and analyse its diverse performance features in cultural context. Arguing that indigenous movement practices incorporate genuinely embodied knowledge, we claim that skilled performance of haka is deeply mindful, embodying and transmitting dynamic, culturally shared understandings of the natural and social world. The indigenous psychologies incorporated in haka performance are animated by a shared history integrated with its environment. Examining haka performance through the lens of 4E cognitive skill theory for mutual benefit, we discuss the effects of synchrony in collective action, the social and environmental scaffolding of affect and emotion, and the multilayered relations between past and present. Culturally-embedded systems of skilled movement like the Māori haka may, we suggest, constitute specific ways of thinking and feeling.

Yoga is a unique form of expert movement that promotes an increasingly subtle interpenetration of thought and movement. The mindful nature of its practice, even at expert levels, challenges the idea that thought and mind are inevitably disruptive to absorbed coping. Building on parallel phenomenological and ethnographic studies of skilful performance and embodied apprenticeship, we argue for the importance in yoga of mental access to embodied movement during skill execution by way of a case study of instruction and practice in two related traditions, Iyengar and Anusara. Sharing a pose repertoire, they are based on distinctive philosophical systems with different teaching styles and metaphoric structures. To address relations between pedagogy and practice in embodied expertise, and to investigate the reciprocal influences of embodiment and thought, we explore in detail the linguistically mediated learning context where practitioners work with yoga teachers. Here, the mind/body problem comes to practical life. We demonstrate the effects of words on bodies, as knowledge is literally incorporated. We show why interpersonal influence on our movement capacities is sometimes needed to enhance expertise. We theorize and identify ‘signature patterns of tension’ among practitioners. These patterns have four sources: ghost gestures, innate differences in bodily form, functional fusing, and signature patterns of affective experience, modulation and expression. These patterns of tension produce ‘silent zones’, cognitively impenetrable actions, functional fusing of a skilful, compensatory form, and signature patterns of pain and damage. We show how instruction can disrupt these silent zones, enhancing mental and physical flexibility.

Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes approach—a differently nuanced model of expert skill aligned with the integrative spirit of the Noices’ research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance.