Wayne David Christensen

Understanding when it is acceptable to interrupt a joint activity is an important part of understanding what cooperation entails. Philosophical analyses have suggested that we should release our partner from a joint activity anytime the activity conflicts with fulfilling a moral obligation. To probe young children’s understanding of this aspect, we investigated whether 3-year-old children (N = 60) are sensitive to the legitimacy of motives (selfish condition vs. moral condition) leading agents to intentionally interrupt their joint activity. We measured whether children protested or released their partner by scoring their reactions. Our results indicate that children did not manifest different reactions when the motive behind their partner leaving was moral than when the motive was selfish. However, our data showed a stable pattern: regardless of the partner’s motives, some 3-year-olds take initiatives to release their partners from joint activity, suggesting that measuring release is a valuable tool for investigating joint action.

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.

Kinds of minds, Daniel Dennett. New York: Basic Books, 1996. ISBN 0–465–07350–6Darwin's dangerous idea: evolution and the meanings of life, Daniel C. Dennett. New York: Simon & Schuster, 1995. ISBN 0–684–80290–2The cognitive neurosciences, Michael S. Gazzaniga (Ed.) Cambridge, MA: MIT Press, 1995. ISBN 0–262–07157–6Lessons from an optical illusion: on nature and nurture, knowledge and values, Edward M. Hundert. Cambridge, MA: Harvard University Press, 1995. ISBN 0–674–52540‐XWittgenstein on mind and language, David G. Stern, Oxford: Oxford University Press, 1995. ISBN 0–19–508000–9Ten problems of consciousness: a representational theory of the phenomenal mind, Michael Tye. Cambridge, MA: MIT Press, 1995. ISBN: 0–262–20103–8Android epistemology, K.M. Ford, C. Glymour & P.J. Hayes (Eds). Cambridge, MA: MIT Press, 1995. ISBN 0–262–06184–8Autonomous agents, Alfred R. Mele. Oxford University Press, 1995.

We present a synthetic theory of skilled action which proposes that cognitive processes make an important contribution to almost all skilled action, contrary to influential views that many skills are performed largely automatically. Cognitive control is focused on strategic aspects of performance, and plays a greater role as difficulty increases. We offer an analysis of various forms of skill experience and show that the theory provides a better explanation for the full set of these experiences than automatic theories. We further show that the theory can explain experimental evidence for skill automaticity, including evidence that secondary tasks do not interfere with expert performance, and evidence that experts have reduced memory for performance of sensorimotor skills

We investigate flexibility and problem solving in skilled action. We conducted a field study of mountain bike riding that required a learner rider to cope with major changes in technique and equipment. Our results indicate that relatively inexperienced individuals can be capable of fairly complex 'on-the-fly' problem solving which allows them to cope with new conditions. This problem solving is hard to explain for classical theories of skill because the adjustments are too large to be achieved by automatic mechanisms and too complex and rapid to be achieved by cognitive processes as they are usually understood. A recent theory, Mesh, can explain these results because it posits that skill-specific cognitive abilities develop during skill learning and that control typically involves an interplay between cognitive and automatic mechanisms. Here we develop Mesh further, providing a detailed explanation for these problem solving abilities. We argue that causal representation, metacognitive awareness and other forms of performance awareness combine in the formulation and control of action strategies. We also argue that the structure of control present in this case is inconsistent with Bratman's model of intentions, and that, in the face of high uncertainty and risk, intentions can be much more labile than Bratman recognises. In addition, we found limitations and flaws in problem solving which illuminate the representations involved. Finally, we highlight the crucial role of social and cultural learning in the development of complex skills.

The nature of the cognition-motor interface has been brought to prominence by Butterfill & Sinigaglia, who argue that the representations employed by the cognitive and motor systems should not be able to interact with each other. Here I argue that recent empirical evidence concerning the interface contradicts several of the assumptions incorporated in Butterfill & Sinigaglia’s account, and I seek to develop a theoretical picture that will allow us to explain the structure of the interface presented by this evidence. The central idea is that neural plasticity incorporates metarepresentational rules for constructing representational systems and linking them. The structure of the cognition-motor interface is constructed flexibly during development and skill learning based on information processing demands.

The nature of the cognition-motor interface has been brought to prominence by Butterfill & Sinigaglia, who argue that the representations employed by the cognitive and motor systems should not be able to interact with each other. Here I argue that recent empirical evidence concerning the interface contradicts several of the assumptions incorporated in Butterfill & Sinigaglia’s account, and I seek to develop a theoretical picture that will allow us to explain the structure of the interface presented by this evidence. The central idea is that neural plasticity incorporates metarepresentational rules for constructing representational systems and linking them. The structure of the cognition-motor interface is constructed flexibly during development and skill learning based on information processing demands.

ABSTRACTIn keeping with the dominant view that skills are largely automatic, the standard view of memory systems distinguishes between a representational declarative system associated with cognitive processes and a performance-based procedural system. The procedural system is thought to be largely responsible for the performance of well-learned skilled actions. Here we argue that most skills do not fully automate, which entails that the declarative system should make a substantial contribution to skilled performance. To support this view, we review evidence showing that the declarative system does indeed play a number of roles in skilled action.

‘There is no place in the phenomenology of fully absorbed coping’, writes Hubert Dreyfus, ‘for mindfulness. In flow, as Sartre sees, there are only attractive and repulsive forces drawing appropriate activity out of an active body’1. Among the many ways in which history animates dynamical systems at a range of distinctive timescales, the phenomena of embodied human habit, skilful movement, and absorbed coping are among the most pervasive and mundane, and the most philosophically puzzling. In this essay we examine both habitual and skilled movement, sketching the outlines of a multidimensional framework within which the many differences across distinctive cases and domains might be fruitfully understood. Both the range of movement phenomena which can plausibly be seen as instances of habit or skill, and the space of possible theories of such phenomena are richer and more disparate than philosophy easily encompasses. We seek to bring phenomenology into contact with relevant movements in psychological theories of skilful action, in the belief that phenomenological philosophy and cognitive science can be allies rather than antagonists

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 (AIR) 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.

Sterelny's Thought in a Hostile World ([2003]) presents a complex, systematically structured theory of the evolution of cognition centered on a concept of decoupled representation. Taking Godfrey-Smith's ([1996]) analysis of the evolution of behavioral flexibility as a framework, the theory describes increasingly complex grades of representation beginning with simple detection and culminating with decoupled representation, said to be belief-like, and it characterizes selection forces that drive evolutionary transformations in these forms of representation. Sterelny's ultimate explanatory target is the evolution of human agency. This paper develops a detailed analysis of the main cognitive aspects. It is argued that some of the major claims are not correct: decoupled representation as defined doesn't capture belief-like representation, and, properly understood, decoupled representation turns out to be ubiquitous among multicellular animals. However, some of the key ideas are right, or along the right lines, and suggestions are made for modifying and expanding the conceptual framework

This paper outlines an original interactivist-constructivist approach to modelling intelligence and learning as a dynamical embodied form of adaptiveness and explores some applications of I-C to understanding the way cognitive learning is realized in the brain. Two key ideas for conceptualizing intelligence within this framework are developed. These are: intelligence is centrally concerned with the capacity for coherent, context-sensitive, self-directed management of interaction; and the primary model for cognitive learning is anticipative skill construction. Self-directedness is a capacity for integrative process modulation which allows a system to "steer" itself through its world by anticipatively matching its own viability requirements to interaction with its environment. Because the adaptive interaction processes required of intelligent systems are too complex for effective action to be prespecified learning is an important component of intelligence. A model of self-directed anticipative learning is formulated based on interactive skill construction, and argued to constitute a central constructivist process involved in cognitive development. SDAL illuminates the capacity of intelligent learners to start with the vague, poorly defined problems typically posed in realistic learning situations and progressively refine them, transforming them into problems with sufficient structure to guide the construction of a solution. Finally, some of the implications of I-C for modelling of the neuronal basis of intelligence and learning are explored; in particular, Quartz and Sejnowski's recent neural constructivism paradigm, enriched by Montague and Sejnowski's dopaminergic model of anticipative-predictive neural learning, is assessed as a promising, but incomplete, contribution to this approach. The paper concludes with a fourfold reflection on the divergence in cognitive modelling philosophy between the I-C and the traditional computational information processing approaches

How do concert pianists commit to memory the structure of a piece of music like Bach’s Italian Concerto, learning it well enough to remember it in the highly charged setting of a crowded performance venue, yet remaining open to the freshness of expression of the moment? Playing to this audience, in this state, now, requires openness to specificity, to interpretation, a working dynamicism that mere rote learning will not provide. Chaffin, Imreh and Crawford’s innovative and detailed research suggests that the key to this skill is a declarative mental roadmap aiding musical performance. This hypothesis is neatly and unintentionally summarized by professional pianist Imreh, who states when learning a new piece of music “My fingers were playing the notes just fine. The practice I needed was in my head. I had to learn to keep track of where I was. It was a matter of learning exactly what I needed to be thinking of as I played, and at exactly what point. . .” (Chaffin & Imreh 1997, p.326).