In our response, we address four themes arising from the commentaries. First, we discuss the distinction between cognition and metacognition and show how to draw it within our framework. Next, we explain how metacognition differs from social cognition. The underlying mechanisms of metacognitive development are then elucidated in terms of interaction patterns. Finally, we consider measures of metacognition and suitable methods for investigating it.

Recently, it has been suggested that at least somekinds of mental representation are strongly context-dependent. Not only what is represented, but also how, depends on the context and the subject's interaction with it. Theories about situated cognition stress the importance of the subject's bodily presence and physical activity in the environment for representing and thinking. What does this mean for creativity? Context-dependence can, it seems, both impede and support creativity. Is creativity a higher-level cognitive function, or does it mainly rely (...) on good old-fashioned know-how? (shrink)

Taking a psychological and philosophical outlook, we approach making as an embodied and embedded skill via the skilled artisan’s experience of having a corporeal, nonlinguistic dialogue with the material while working with it. We investigate the dynamic relation between maker and material through the lens of pottery as illustrated by wheel throwing, claiming that the experience of dialogue signals an emotional involvement with clay. The examination of Merleau-Ponty’s phenomenology of habit, the skilled intentionality framework, and material engagement theory shows that (...) while these theories explain complementary aspects of skillful engagement with the material world, they do not consider the dialogic dimension. By way of explanation, we submit that the artisan’s emotional engagement with the material world is based in openness and recognition and involves dialogue with the material. Drawing on the intimate relationship between movement and emotion, it promotes an open-ended manner of working and permits experiencing with the material, acting into its inherent possibilities. In conclusion, we suggest that dialogue, whether verbal or nonverbal, constitutes a primary means for making sense of the world at large, animate and inanimate. (shrink)

Intentional communication is perceptually based and about attentional objects. Three attention mechanisms are distinguished: scanning, attention attraction, and attention-focusing. Attention-focusing directs the subject towards attentional objects. Attention-focusing is goal-governed (controlled by stimulus) or goal-intended (under the control of the subject). Attentional objects are perceptually categorised functional entities that emerge in the interaction between subjects and environment. Joint attention allows for focusing on the same attentional object simultaneously (mutual object-focused attention), provided that the subjects have focused on each other beforehand (subject-subject (...) attention). It results in intentional communication if the subjects attend to each other as subjects (i) capable of attending, and (ii) attending in a goal-intended way. Intentional communication is fundamentally imperative and adapted to action. (shrink)

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...) others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

We explain metacognition as a management of cognitive resources that does not necessitate algorithmic strategies or metarepresentation. When pragmatic, world-directed actions cannot reduce the distance to the goal, agents engage in epistemic action directed at cognition. Such actions often are physical and involve other people, and so are open to observation. Taking a dynamic systems approach to development, we suggest that implicit and perceptual metacognition emerges from dyadic reciprocal interaction. Early intersubjectivity allows infants to internalize and construct rudimentary strategies for (...) monitoring and control of their own and others’ cognitions by emotion and attention. The functions of initiating, maintaining, and achieving turns make proto-conversation a productive platform for developing metacognition. It enables caregiver and infant to create shared routines for epistemic actions that permit training of metacognitive skills. The adult is of double epistemic use to the infant – as a teacher that comments on and corrects the infant’s efforts, and as the infant’s cognitive resource in its own right. (shrink)