Thomas Netland

This chapter aims to deepen Donald Schön’s insight about jazz playing as an example of what he calls “reflection-in-action” (RiA) by situating this notion within the enactive view of humans as linguistic bodies. Our main claim is that the knowl-edge or skills displayed by expert jazz musicians must be understood as aural and communicative in nature. After presenting the notions of RiA and linguistic bodies, we develop our view through a critical discussion of four statements from Schön’s passage on jazz musicianship, before wrapping up and clarifying the position we are advocating. This way, we suggest a revised version of Schön’s concept, which we call “reflection in communicative jazz action."

This anthology focuses on “practical” forms and expressions of knowledge, like thinking through artistic media or by crafting things out of materials. The ten chapters follow and review various tracks in conceptions of contemporary knowledge, exploring human knowledge and experience from the perspective of human activities or practices, professional, artistic, domestic, or whatever. A guiding idea is that human knowledge seldom, perhaps never, fits into the traditional dualism between thinking and doing. The chapters are written by philosophers and musicians – some with a double experience as artists and theoreticians. The themes are philosophical, but above all, they touch on questions that are essential for how we understand ourselves as thinking and playing bodies, indeed as parts of nature. The book does not propose one single “theory of knowledge” but steps towards a more diverse and open attitude to the meaning of knowledge. We hope that the texts will be of interest and useful in both disciplinebased and professional education: in philosophy, art schools, tea cher education, and in other programmes where tacit and practical knowledge are essential for the (future) practitioners. It is possible to independently read, and profit from, most of the chapters.

This article takes its point of departure from the second (embodied) linguistic turn represented by the enactivist notion of humans as linguistic bodies, using resources from Hans Georg Gadamer in order to propose a view of the relation between art and everyday experience as one of symbolic transformation. Conceiving art as a form of linguistic phenomenon wherein one can engage in original situations of communication, this view rejects both autonomist and direct continuity views of the art-everyday relation. We start by situating the idea of linguistic bodies within the enactive approach, spelling out relevant aspects concerning the significance of language for human life and perception (Sect. 2). Then we embark on a discussion of aspects of Shaun Gallagher’s and Alva Noë’s enactivist perspectives on art experience, highlighting places where their views align with and depart from ours (Sect. 3). The last two sections aim to lay out the transformative view in more detail, proposing a pluralistic understanding of art media and a view of art and art experience as modes of ideational, embodied thought (Sects. 4 and 5).

This thesis explores and discusses foundational issues concerning the relationship between phenomenological philosophy and the enactive approach to cognitive science, with the aim of clarifying, developing, and promoting the project of enactive phenomenology. This project is framed by three general ideas: 1) that the sciences of mind need a phenomenological grounding, 2) that the enactive approach is the currently most promising attempt to provide mind science with such a grounding, and 3) that this attempt involves both a naturalization of phenomenology and a phenomenologization of the concept of nature. More specifically, enactive phenomenology is the project of pursuing mutually illuminative exchanges between, on the one hand, phenomenological investigations of the structures of lived experience and embodied existence and, on the other, scientific accounts of mind and life – in particular those framed by theories of biological self-organization. The thesis consists of two parts. Part one is an introductory essay that seeks to clarify some of enactive phenomenology’s overarching philosophical commitments by tracing some of its historical roots. Part two is a compilation of four articles, each of which intervenes in a different contemporary debate relevant to the dissertation’s project.

This article discusses Hans Jonas’ argument for teleology in living organisms, in light of recently raised concerns over enactivism’s “Jonasian turn.” Drawing on textual resources rarely discussed in contemporary enactivist literature on Jonas’ philosophy, we reconstruct five core ideas of his thinking: 1) That natural science’s rejection of teleology is methodological rather than ontological, and thus not a proof of its non-existence; 2) that denial of the reality of teleology amounts to a performative self-contradiction; 3) that the fact of evolution makes it implausible that only humans actualize purpose; 4) that the concept of metabolism delimits and gestures towards beings performing purposive activity; and 5) that concrete encounters with living organisms are indispensable for the judgment that they are purposive. Lastly, we draw attention to how Jonas’ understanding of teleology and inwardness in nonhuman life in terms of degrees of identity with human life poses a problem for his view. In this way, we hope to clarify what Jonas, as an important source of inspiration for the enactivist project, is proposing.

With Jan Degenaar and Kevin O’Regan’s (D&O) critique of (what they call) ‘autopoietic enactivism’ as point of departure, this article seeks to revisit, refine, and develop phenomenology’s significance for the enactive view. Arguing that D&O’s ‘sensorimotor theory’ fails to do justice to perceptual meaning, the article unfolds by (1) connecting this meaning to the notion of enaction as a meaningful co-definition of perceiver and perceived, (2) recounting phenomenological reasons for conceiving of the perceiving subject as a living body, and (3) showing how the phenomenological perspective does a better job at fulfilling D&O’s requirement for grounding notions of mentality in ‘outer’ criteria than they do. The picture that thus emerges is one of perceptual meaning as an integration of lived, living, and behavioral aspects – a structure of behavior that cannot be captured by appeal to sensorimotor capacities alone but that is adequately illuminated by the enactive notion of adaptive autonomy.

What does it mean to enact a jazz beat as a creative performer? This article offers a critical reading of Iyer’s much-cited theory on rhythmic enaction. We locate the sonic environment approach in Iyer’s theory, and criticize him for advancing a one-to-one relationship between everyday perception and full-fledged aural competence of jazz musicians, and for comparing the latter with non-symbolic behaviour of non-human organisms. As an alternative, we suggest a Merleau-Ponty-inspired concept of rhythmic enaction, which we call the enactive communicative approach. Key to this approach is the fact that jazz musicians play by ear, and that the beat emerges because of reciprocal, real-time aural communication. From this perspective, we outline the temporality of a jazz beat as a holistic and dialectical temporal structure. Throughout the discussions, we use John Coltrane’s ‘Trane’s Slo Blues’ as a point of reference.

In this article I take on the “Transcendentalist Challenge” to naturalized phenomenology, highlighting how the ontological and methodological commitments of Merleau-Ponty’s philosophy point in the direction of an integration of the transcendental and the scientific, thus making room for a productive exchange between philosophy and psychological science when it comes to understanding consciousness and its place in nature. Discussing various conceptions of naturalized phenomenology, I argue that what I call an “Integrationist View” is required if we are to make sense of the possibility of productive exchange between phenomenology and the sciences. My main argument is that if we conceive of consciousness as a structure of behavior ontologically prior to the distinctions between objectivity and subjectivity and third- and first-person perspectives, we arrive at a view of the transcendental as not essentially separate from the domain of science, but rather as contingent organizational norms of empirical nature that are best illuminated through a dialectical exchange between phenomenological and scientific approaches. I end by showing how Merleau-Ponty’s engagement with the “Schneider case” in an example of such an integration.