The cross-disciplinary framework of Material Engagement Theory (MET) has emerged as a novel research program that flexibly spans archeology, anthropology, philosophy, and cognitive science. True to its slogan to ‘take material culture seriously’, “MET wants to change our understanding of what minds are and what they are made of by changing what we know about what things are and what they do for the mind” (Malafouris 2013, 141). By tracing out more clearly the conceptual contours of ‘material engagement,’ and firming (...) up its ontological commitments, the main goal of this article is to help refine Malafouris’ fertile approach. In particular, we argue for a rapprochement between MET and the tradition of Cultural-Historical Activity Theory, based on the ‘Vygotskian’ hypothesis of scaffolded and/or distributed cognition. (shrink)

It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely (...) solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use existing artworks, memory aids, and music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. (shrink)

The primary goal of this essay is to provide a comprehensive overview and analysis of the various relations between material artifacts and the embodied mind. A secondary goal of this essay is to identify some of the trends in the design and use of artifacts. First, based on their functional properties, I identify four categories of artifacts co-opted by the embodied mind, namely (1) embodied artifacts, (2) perceptual artifacts, (3) cognitive artifacts, and (4) affective artifacts. These categories can overlap and (...) so some artifacts are members of more than one category. I also identify some of the techniques (or skills) we use when interacting with artifacts. Identifying these categories of artifacts and techniques allows us to map the landscape of relations between embodied minds and the artifactual world. Second, having identified categories of artifacts and techniques, this essay then outlines some of the trends in the design and use of artifacts, focussing on neuroprosthetics, brain-computer interfaces, and personalisation algorithms nudging their users towards particular epistemic paths of information consumption. (shrink)

Memory technologies are cultural artifacts that scaffold, transform, and are interwoven with human biological memory systems. The goal of this article is to provide a systematic and integrative survey of their philosophical dimensions, including their metaphysical, epistemological and ethical dimensions, drawing together debates across the humanities, cognitive sciences, and social sciences. Metaphysical dimensions of memory technologies include their function, the nature of their informational properties, ways of classifying them, and their ontological status. Epistemological dimensions include the truth-conduciveness of external memory, (...) the conditions under which external memory counts as knowledge, and the metacognitive monitoring of external memory processes. And lastly, ethical and normative dimensions include the desirability of the effects memory technologies have on biological memory, their effects on self and culture, and their moral status. Whilst the focus in the article is largely philosophical and conceptual, empirical issues such as the way we interact with memory technologies in various contexts are also discussed. We thus take a naturalistic approach in which philosophical and empirical concepts and approaches are seen as continuous. (shrink)

In the history of external information systems, the World Wide Web presents a significant change in terms of the accessibility and amount of available information. Constant access to various kinds of online information has consequences for the way we think, act and remember. Philosophers and cognitive scientists have recently started to examine the interactions between the human mind and the Web, mainly focussing on the way online information influences our biological memory systems. In this article, we use concepts from the (...) extended cognition and distributed cognition frameworks and from transactive memory theory to analyse the cognitive relations between humans and the Web. We first argue that while neither of these approaches neatly capture the nature of human-Web interactions, both offer useful concepts to describe aspects of such interactions. We then conceptualize relations between the Web and its users in terms of cognitive integration, arguing that most current Web applications are not deeply integrated and are better seen as a scaffold for memory and cognition. Some highly personalised applications accessed on wearable computing devices, however, may already have the capacity for deep integration. Finally, we draw out some of the epistemic implications of our cognitive analysis. (shrink)

Harris, Barnier, Sutton and Savage examine the communication styles that boost the mnemonic consequences associated with conversations for long‐term married couples and the circumstances under which the couples form a TMS. Harris and colleagues demonstrated that specific communication styles (e.g., cueing each other) promote group memory success whereas others (e.g., correcting each other) did not enhance group recall performance. These results showed that even in well‐established and enduring distributed cognitive systems such as long‐term intimate couples (Harris, Barnier, Sutton & Keil, (...) 2014), memory benefits depend on effective communication and the specificities of the task performed (e.g., remembering lists of words vs. remembering shared, autobiographical experiences). (shrink)

This paper reconstructs L.S. Vygotsky’s account of anthropogenesis with respect to the work of anthropologist André Leroi-Gourhan and late philosopher Bernard Stiegler, situating Vygotsky as a forerunner to recent theories that posit cultural scaffolding and niche construction as the main drivers of human cognitive evolution. One might think there is an immediate affinity between Vygotsky and the techno-centric accounts of Leroi-Gourhan and Stiegler. Following Leroi-Gourhan, Stiegler argues that “technics” is the main driver in the anthropogenic development of “reflective consciousness.” Vygotsky (...) likewise claims that “psychological tools” are responsible for the development of uniquely human forms of consciousness. However, closer inspection reveals deep disparities between Vygotsky and the French thinkers. In Stiegler’s philosophical redeployment of Leroi-Gourhan’s anthropology, “reflective” cognition is the product of a prehistorical rupture in which some threshold of technical-cortical complexification is breached. For Vygotsky, on the other hand, the inverse scenario obtains. Technical development initially proceeds in tandem with the complexification of biologically based signaling behavior until the introduction of signs, which then radically restructure the cognitive apparatus. Due to inconsistencies regarding the equivalency of the technical and semiotic in Stiegler and Leroi-Gourhan, I advance a Vygotskian account where anthropogenesis is the result of semiotic rather than technical intervention. This aims to establish Vygotsky’s “Cultural Historical” approach, and the Marxian-dialectical tradition from which he draws, as not only presaging recent naturalistic accounts of development, but offering a relevant theoretical program that may continue to inspire contemporary enculturated accounts of anthropogenesis. (shrink)

Human biological memory systems have adapted to use technological artifacts to overcome some of the limitations of these systems. For example, when performing a difficult calculation, we use pen and paper to create and store external number symbols; when remembering our appointments, we use a calendar; when remembering what to buy, we use a shopping list. This chapter looks at the history of memory artifacts, describing the evolution from cave paintings to virtual reality. It first characterizes memory artifacts, memory systems, (...) and the two main functions such artifacts have, which are to aid individual users in completing memory tasks and as a cultural inheritance channel (section 2). It then outlines some of our first symbolic practices such as making cave paintings and figurines, and then moves on to outline several key developments in external representational systems and the artifacts that support these such as written language, numeral systems and counting devices, diagrams and maps, measuring devices, libraries and archives, photographs, analogue and digital computational artifacts, the World Wide Web, virtual reality, and smartphones (section 3). After that, it makes some brief points about the cumulative nature of the cultural evolution of memory artifacts and speculates about the possible future of memory artifacts, arguing that it is very difficult to look beyond an epistemological horizon of more than five years (section 4). (shrink)

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. (shrink)

This chapter proposes a radically enactive account of remembering that casts it as creative, dynamic, and wide-reaching. It paints a picture of remembering that no longer conceives of it as involving passive recollections – always occurring wholly and solely inside heads. Integrating empirical findings from various sources, the chapter puts pressure on familiar cognitivist visions of remembering. Pivotally, it is argued, that we achieve a stronger and more elegant account of remembering by abandoning the widely held assumption that it is (...) rooted in the retrieval of stored information or content in order to represent past events. We demonstrate how a radically enactive account of the roots of remembering can successfully handle classic cases discussed in the extended memory literature while, at same time, accommodating experientially rich forms of episodic memory. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)