Embodied and phenomenological approaches to neuropsychiatry have proven to be promising for assessing social cognition and its impairments. Second-person neuroscience has demonstrated that the dynamics of social interaction make a difference when it comes to how people understand each other. This article presents the Perceptual Crossing Experiment (PCE) as a paradigm for studying real-time dyadic embodied interactions in the context of schizophrenia. We draw on the phenomenological concept of interbodily resonance (IR) and show how (...) the PCE can be used to accurately model and assess IR. We then turn to disembodied interaction in schizophrenia and finally propose the PCE as a translational tool for systematically assessing the hindered IR that individuals with schizophrenia suffer from. We offer an experimental approach to phenomenology which could be informative for the development of more embodied interventions aiming to remedy the profoundly disrupted social life that patients with schizophrenia live with. (shrink)

Interactive social cognition theory and approaches of developmental psychology widely agree that central aspects of emotional and social experience arise in the unfolding of processes of embodied social interaction. Bi-directional dynamical couplings of bodily displays such as facial expressions, gestures, and vocalizations have repeatedly been described in terms of coordination, synchrony, mimesis, or attunement. In this paper, I propose conceptualizing such dynamics rather as processes of affective resonance. Starting from the immediate phenomenal experience of (...) being immersed in interaction, I develop the philosophical notion of affective resonance to refer to a dynamic entanglement of moving and being-moved in relation. The concept of affective resonance makes visible that the interaction dynamic itself creates an affective experience rather than transmitting internal feeling states between pre-existent individuals. This leads to a philosophical framework in which relationality and ontogeny are primary over separate individuals, and in which the naturalistic distinction of a fundamental physical level versus an emerging level of social processes has to be given up. (shrink)

Embodied approaches to cognition conceive of mental life as emerging from the ongoing relationship between neural and extra-neural resources. The latter include, first and foremost, our entire body, but also the activity patterns enacted within a contingent milieu, cultural norms, social factors, and the features of the environment that can be used to enhance our cognitive capacities (e.g., tools, devices, etc.). Recent work in music education and sport psychology has applied general principles of embodiment to a number of (...) social contexts relevant to their respective fields. In particular, both disciplines have contributed fascinating perspectives to our understanding of how skills are acquired and developed in groups; how musicians, athletes, teachers, and coaches experience their interactions; and how empathy and social action participate in shaping effective performance. In this paper, we aim to provide additional grounding for this research by comparing and further developing original themes emerging from this cross-disciplinary literature and empirical works on how performative skills are acquired and optimized. In doing so, our discussion will focus on: (1) the feeling of being together, as meaningfully enacted in collective musical and sport events; (2) the capacity to skillfully adapt to the contextual demands arising from the social environment; and (3) the development of distributed forms of bodily memory. These categories will be discussed from the perspective of embodied cognitive science and with regard to their relevance for music education and sport psychology. It is argued that because they play a key role in the acquisition and development of relevant skills, they can offer important tools to help teachers and coaches develop novel strategies to enhance learning and foster new conceptual and practical research in the domains of music and sport. (shrink)

There is a growing realization in cognitive science that a theory of embodied intersubjectivity is needed to better account for social cognition. We highlight some challenges that must be addressed by attempts to interpret ‘simulation theory’ in terms of embodiment, and argue for an alternative approach that integrates phenomenology and dynamical systems theory in a mutually informing manner. Instead of ‘simulation’ we put forward the concept of the ‘extended body’, an enactive and phenomenological notion that emphasizes the socially (...) mediated nature of embodiment. To illustrate the explanatory potential of this approach, we replicate an agent-based model of embodied social interaction. An analysis of the model demonstrates that the extended body can be explained in terms of mutual dynamical entanglement: inter-bodily resonance between individuals can give rise to self-sustaining interaction patterns that go beyond the behavioral capacities of isolated individuals by modulating their intra-bodily conditions of behavior generation. (shrink)

An important shift is taking place in social cognition research, away from a focus on the individual mind and toward embodied and participatory aspects of social understanding. Empirical results already imply that social cognition is not reducible to the workings of individual cognitive mechanisms. To galvanize this interactive turn, we provide an operational definition of social interaction and distinguish the different explanatory roles – contextual, enabling and constitutive – it can play in social cognition. (...) We show that interactive processes are more than a context for social cognition: they can complement and even replace individual mechanisms. This new explanatory power of social interaction can push the field forward by expanding the possibilities of scientific explanation beyond the individual. (shrink)

Musical Group Interaction (MGI) has been found to promote prosocial tendencies, including empathy, across various populations. However, experimental study is lacking in respect of effects of everyday forms of musical engagement on prosocial tendencies, as well as whether key aspects—such as physical co-presence of MGI participants—are necessary to enhance prosocial tendencies. We developed an experimental procedure in order to study online engagement with collaborative playlists and to investigate socio-cognitive components of prosocial tendencies expected to increase as a consequence of engagement. (...) We aimed to determine whether mereperceivedpresence of a partner during playlist-making could elicit observable correlates of social processing implicated in both MGI and prosocial behaviors more generally and identify the potential roles of demographic, musical, and inter-individual differences. Preliminary results suggest that for younger individuals, some of the social processes involved in joint music-making and implicated in empathic processes are likely to be elicited even by an assumption of virtual co-presence. In addition, individual differences in styles of listening behavior may mediate the effects of mere perceived partner presence on recognition memory. (shrink)

I will argue that the asynchronous discussion format commonly used in online courses has little hope of bringing about transformative learning, and that this is because engaging with another as a person involves adopting a personal stance, comprised of affective and bodily relatedness (Ratcliffe 2007, 23). Interpersonal engagement ordinarily is fully embodied to the extent that communication relies heavily on individuals’ postures, gestures, and facial expressions. Subjects involved in face-to-face interaction can perceive others’ desires and feelings on the (...) basis of their expressions and movements, to which they become attuned by way of bodily resonance. Moreover, social cognition is enactive in the sense that parties do not passively receive information from their environments, but instead actively participate in the generation of meaning. They do so not in isolation, but instead via ongoing engagement and coordination with their interaction partners, so that sense-making becomes a shared activity. This paves the way for what I will call ‘participatory sense-making.’ To the extent that it involves asynchronous discussion and disembodied social engagement, online learning severs these interactive links between students and makes this sort of participatory sense-making unlikely. (shrink)

The United States National Preparedness System has evolved significantly in the recent past. These changes have affected the system structures and goals for disaster response. At the same time, actors such as private businesses have become increasingly involved in disaster efforts. In this paper, we begin to fill the gap in the cross-sector literature regarding interactions that have systemic impacts by investigating how the simultaneous processes of systemic change and intensifying cross-sector interaction worked and interacted in the context of the (...) preparedness system. We examine these inter-linkages through a qualitative study in the setting of Hurricane Sandy. Drawing from systems theory, we develop a grounded model that provides an explanation for the system change and highlights how cross-sector interaction relates to the changes observed in the system. (shrink)

The recognition and incorporation of evidence-based neuroscientific concepts into creative arts therapeutic knowledge and practice seem valuable and advantageous for the purpose of integration and professional development. Moreover, exhilarating insights from the field of neuroscience coincide with the nature, conceptualization, goals, and methods of Creative Arts Therapies, enabling comprehensive understandings of the clinical landscape, from a translational perspective. This paper contextualizes and discusses dynamic brain functions that have been suggested to lie at the heart of intra- and inter-personal processes. (...) Touching upon fundamental aspects of the self and self-other interaction, the state-of-the-art neuroscientific-informed views will shed light on mechanisms of the embodied, predictive and relational brain. The conceptual analysis introduces and interweaves the following contemporary perspectives of brain function: firstly, the grounding of mental activity in the lived, bodily experience will be delineated; secondly, the enactive account of internal models, or generative predictive representations, shaped by experience, will be defined and extensively deliberated; and thirdly, the interpersonal simulation and synchronization mechanisms that support empathy and mentalization will be thoroughly considered. Throughout the paper, the cross-talks between the brain and the body, within the brain through functionally connected neural networks and in the context of agent-environment dynamics, will be addressed. These communicative patterns will be elaborated on to unfold psychophysiological linkage, as well as psychopathological shifts, concluding with the neuroplastic change associated with the formulation of CATs. The manuscript suggests an integrative view of the brain-body-mind in contexts relevant to the therapeutic potential of the expressive creative arts and the main avenues by which neuroscience may ground, enlighten and enrich the clinical psychotherapeutic practice. (shrink)

We propose a view of identity beyond the individual in what we call interpersonal interidentities (IIIs). Within this approach, IIIs comprise collections of entangled stabilities that emerge in recurrent social interaction and manifest for those who instantiate them as relatively invariant though ever-evolving patterns of being (or more accurately, becoming) together. Herein, we consider the processes responsible for the emergence of these IIIs from the perspective of an enactive cognitive science. Our proposal hinges primarily on the development of two (...) related notions: enhabiting and coenhabiting. First, we introduce the notion of enhabiting, a set of processes at the individual level whereby structural interdependencies stabilise and thereafter undergird the habits, networks of habits, and personal identities through which we make sense of our experience. Articulating this position we lean on the notion of a tendency towards an optimal grip, though offering it a developmental framing, whereby iterative states of selective openness help realise relatively stable autonomous personal identities with their own norms of self-regulation. We then extend many of the notions found applicable here to an account of social coenhabiting, in particular, we introduce the notion of tending towards a co-optimal grip as central to the development of social habits, networks of habits, and ultimately IIIs. Such structures, we propose, also emerge as autonomous structures with their own norms of self-regulation. We wind down our account with some reflections on the implications of these structures outside of the interactions wherein they come into being and offer some thoughts about the complex animations of the individual embodied subjects that instantiate them. (shrink)

We argue that theory-of-mind (ToM) approaches, such as “theory theory” and “simulation theory”, are both problematic and not needed. They account for neither our primary and pervasive way of engaging with others nor the true basis of our folk psychological understanding, even when narrowly construed. Developmental evidence shows that young infants are capable of grasping the purposeful intentions of others through the perception of bodily movements, gestures, facial expressions etc. Trevarthen’s notion of primary intersubjectivity can provide a theoretical framework (...) for understanding these capabilities and his notion of secondary intersubjectivity shows the importance of pragmatic contexts for infants starting around one year of age. The recent neuroscience of resonance systems (i.e., mirror neurons, shared representations) also supports this view. These ideas are worked out in the context of an embodied “Interaction Theory” of social cognition. Still, for more sophisticated intersubjective interactions in older children and adults, one might argue that some form of ToM is required. This thought is defused by appeal to narrative competency and the Narrative Practice Hypothesis (or NPH). We propose that repeated encounters with narratives of a distinctive kind is the normal route through which children acquire an understanding of the forms and norms that enable them to make sense of actions in terms of reasons. A potential objection to this hypothesis is that it presupposes ToM abilities. Interaction Theory is deployed once again to answer this by providing an alternative approach to understanding basic narrative competency and its development. (shrink)

In this four part exchange, Evan Selinger starts by stating that Collins’s empirical evidence in respect of linguistic socialization and its bearing on artificial intelligence and expertise is valuable; it advances philosophical and sociological understanding of the relationship between knowledge and language. Nevertheless, he argues that Collins mischaracterizes the data under review and thereby misrepresents how knowledge is acquired and understates the extent to which expert knowers are embodied. Selinger reconstructs the case for the importance of the body in (...) the initial acquisition of language and challenges Collins to show how a disembodied entity could become fluent in any language at all.Collins responds by accepting that his approach does not demonstrate quite as much about the irrelevance of the body as he thought it did but that even though he accepts all of Selinger’s claims, ‘the body’ as needed by the philosophical approach set out by Selinger is still a vestigial thing. Collins’s main point, however, is that the philosophical view of the body—the world is divided into embodied agents and unembodied entities—distracts attention from the more interesting empirically researchable question of how the ability to become socialized diminishes, if it does, as the body become more and more minimal. The right research question is not about whether a person can extrapolate from minimal sensory input but how much extrapolation is possible under different circumstances and how it is done.Dreyfus, having seen the whole of the exchange so far, agrees that both have a point but argues that Collins’s approach still misses the well established importance of bodily engagement for full understanding.Collins responds to this by trying to set out more clearly the position associated with the idea of interactional expertise.Keywords: Interactional expertise; Phenomenology; Turing test; Embodiment; Tacit knowledge; Socialization. (shrink)

In this four part exchange, Evan Selinger starts by stating that Collins’s empirical evidence in respect of linguistic socialization and its bearing on artificial intelligence and expertise is valuable; it advances philosophical and sociological understanding of the relationship between knowledge and language. Nevertheless, he argues that Collins mischaracterizes the data under review and thereby misrepresents how knowledge is acquired and understates the extent to which expert knowers are embodied. Selinger reconstructs the case for the importance of the body in (...) the initial acquisition of language and challenges Collins to show how a disembodied entity could become fluent in any language at all.Collins responds by accepting that his approach does not demonstrate quite as much about the irrelevance of the body as he thought it did but that even though he accepts all of Selinger’s claims, ‘the body’ as needed by the philosophical approach set out by Selinger is still a vestigial thing. Collins’s main point, however, is that the philosophical view of the body—the world is divided into embodied agents and unembodied entities—distracts attention from the more interesting empirically researchable question of how the ability to become socialized diminishes, if it does, as the body become more and more minimal. The right research question is not about whether a person can extrapolate from minimal sensory input but how much extrapolation is possible under different circumstances and how it is done.Dreyfus, having seen the whole of the exchange so far, agrees that both have a point but argues that Collins’s approach still misses the well established importance of bodily engagement for full understanding.Collins responds to this by trying to set out more clearly the position associated with the idea of interactional expertise.Keywords: Interactional expertise; Phenomenology; Turing test; Embodiment; Tacit knowledge; Socialization. (shrink)

The paper discusses two recent approaches to schizophrenia, a phenomenological and a neuroscientific approach, illustrating how new directions in philosophy and cognitive science can elaborate accounts of psychopathologies of the self. It is argued that the notion of the minimal and bodily self underlying these approaches is still limited since it downplays the relevance of social interactions and relations for the formation of a coherent sense of self. These approaches also illustrate that we still lack an account of (...) how 1st and 3rd person observations can fruitfully go together in an embodied account of disorders of the self. Two concepts from enactive cognitive science are introduced, the notions of autonomy and sense-making. Based on these, a new proposal for an enactive approach to psychopathologies of the self is outlined that integrates 1st and 3rd person perspectives, while strongly emphasising the role of social interactions in the formation of self. It is shown how the enactive framework might serve as a basis for an alternative understanding of disorders of the self such as schizophrenia, as a particular form of socially constituted self-organisation. (shrink)

The human capacity for intersubjective engagement is present, even when one is limited in speaking, pointing, and coordinating gaze. This paper examines the everyday social interactions of two differently-disposed actors—a non-speaking autistic child and his speaking, neurotypical mother—who participate in shared attention through dialogic turn-taking. In the collaborative pursuit of activities, the participants coordinate across multiple turns, producing multi-turn constructions that accomplish specific goals. The paper asks two questions about these collaborative constructions: 1) What are their linguistic and discursive (...) structures? 2) How do embodied actions contribute to these constructions? Findings show that the parent and child repeatedly co-produced multi-turn constructions that had consistent structures, implying a sophisticated ability to anticipate the completion of action trajectories. Examining the embodied actions of interactants revealed that the child often accommodated to the parent’s demands for participation. Nonetheless, the child occasionally pursued his own goals by improvising with and within multi-turn constructions. He launched constructions to redirect parental attention, and otherwise produced surprising actions within the turn-taking structure of these constructions. The paper concludes that multi-turn constructions in the midst of activities are a primordial site in which to begin observing the competencies of non-speaking autistic children for intersubjective engagement. (shrink)

Is an individual agent constitutive of or constituted by its social interactions? This question is typically not asked in the cognitive sciences, so strong is the consensus that only individual agents have constitutive efficacy. In this article we challenge this methodological solipsism and argue that interindividual relations and social context do not simply arise from the behavior of individual agents, but themselves enable and shape the individual agents on which they depend. For this, we define the notion of (...) autonomy as both a characteristic of individual agents and of social interaction processes. We then propose a number of ways in which interactional autonomy can influence individuals. Then we discuss recent work in modeling on the one hand and psychological investigations on the other that support and illustrate this claim. Finally, we discuss some implications for research on social and individual agency. (shrink)

In this musing we consider how social distancing, the primary public health measure introduced to mitigate the spread of the COVID-19 virus, is creating social encounters characterized by a self-and-other-consciousness and an atmosphere of suspicion, leading to what we call “alienated embodied communication.” Whilst interaction rituals dominated by avoidance, fear and distrust are novel for many individuals who occupy positions of social privilege, Black and ethnic minority writers have demonstrated that the alienated bodily communication of (...) COVID-19 social distancing is “nothing new” for people who routinely experience marginalization as a result of racism. Our aim in this musing, then, is to reflect on how on-going experiences of stigma, shame, and marginalization can shape how social distancing is registered on an embodied and existential level, and therefore how social distancing may differentially impact individuals with lived experiences of racism. (shrink)

Clark and Fischer's depiction hypothesis is based on examples of western mimetic art. Yet social robots do not depict social interactions, but instead perform them. Similarly, dance and performance art do not rely on depiction. Kinematics and expressivity are better predictors of dance aesthetics and of effective social interactions. In this way, social robots are more like dancers than actors.

Classically, the question of recognizing another subject is posed unilaterally, in terms of the observed behaviour of the other entity. Here, we propose an alternative, based on the emergent patterns of activity resulting from the interaction of both partners. We employ a minimalist device which forces the subjects to externalize their perceptual activity as trajectories which can be observed and recorded; the results show that subjects do identify the situation of perceptual crossing with their partner. The interpretation of (...) the results is guided by comparable evolutionary robotics simulations. There are two components to subjects’ recognition capacities: distinguishing mobile and fixed entities; and behaving so as to interact with their partner rather than with a mobile lure. The “Other” is characterized by the feature that there is sufficient regularity in the interactions to encourage the formation of anticipations; but sufficient indetermination that the actual behaviour is consistently surprising. Keywords: Recognition of other; perceptual crossing; evolutionary robotics. (shrink)

The article investigates the rhetorical means of mediating affective experience in occasioned storytelling. The completion of this article has been supported by The Emil Aaltonen Foundation and The Academy of Finland project (285144) The Literary in Life and The Academy of Finland project (326645) European Solidarities in Turmoil. We are interested in the forms and aspects of bodily action in signifying and communicating a “para-factual experience” that was triggered by a real-life incident, but in fact only took place in (...) a person’s imagination. We explore the case of a TV interview in which an American living in Finland narrates a personal, disturbing experience related to the news about 9/11. The story presents a visual scenario of the teller’s affective reaction towards two Muslim women in a grocery store. What is interesting in the story are its involuntary dimensions: the scenario portrays a picture of the teller that he finds unrecognizable and detached from his sense of self as a person. Even if the act was never actually realized, to the teller it felt real and compelling, as is manifest in the way he translates the scenario into a bodily performance. The teller not only uses his body to tell the story but momentarily turns the surrounding setting into a scene in the storyworld in which he plays the unidentified me. We call this physical performance of the imagined scene the embodied ekphrasis of experience. In Semiotica, the rhetorical device of ekphrasis has appeared before (see Frosh 2003; Hopkins 2015; Nesselroth 2016; Sarapik 2009) from such literary and linguistic perspectives, as well as through the lens of media research and cultural studies, to which our application will add from the viewpoint of ethnomethodology and the social sciences. Deploying research on multimodal interaction and intermediality, our empirical analysis explicates how the teller’s body, and not just words, build action, convey affective meaning, and resemiotize and mobilize a physical enactment of the past hypothetical scene. (shrink)

The aim of this paper is to advance, within the framework of enactivism, towards a more radically embodied and situated theory of emotions and, in general, of affectivity. Its starting point is that of discussing the well-established notion of bodily resonance (Fuchs 2013, Fuchs & Koch 2014, Fuchs 2018) and the primordial affectivity approach (Colombetti 2014). I will incorporate John Dewey’s theory of emotions, and recent models and empirical finding from cognitive science on the relation between perception (...) and bodily activity (Azzalini, Rebollo & Tallon-Baudry 2019; Allen et al. 2019). The novel element proposed in this paper is taking into consideration the role of bodily oscillatory activity in the perceptual side of cognition through phenomena of relative coordination. This concept from dynamical systems theory allows for an enactivist view of emotions as temporal episodes triggered by a tension that affects the rhythmic interaction between brain, body, and environment. By defending the importance of this enacted rhythm, the body emerges as a truly active agent, gating and modulating affectivity during all the stages of the sensorimotor circuit from perception to action. (shrink)

I argue that, if it is thought desirable to avoid the collapse of disability into generic social disadvantage, it is necessary to draw a distinction between impairment (a bodily configuration) and disability (the way in which the environment prevents someone with an impairment from undertaking certain kinds of activities), as in social models of disability. I show how to draw such a distinction by utilizing a distinction between intrinsic and extrinsic properties. I argue further that, using this (...) distinction, it is possible to define ‘impairment’ in ways that do not appeal to notions of the normal, and to define ‘disability’ in terms of ‘impairment.’. (shrink)

Both papers – to different degrees – underplay the interactive dimensions of music, and both would have benefited from integrating the concept of attachment into their treatments of social bonding. I further suggest that their treatment of music as a discrete domain of human experience and behaviour weakens their arguments concerning its functions in human evolution.

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope (...) that requires two identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

Preview: /Commentary: Richard Shusterman, Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love, 436 pages./ Somaesthetics, the field cultivated by Richard Shusterman since 1997, bore another juicy fruit for our enjoyment. This time, his interdisciplinary research – integrating the theoretical, empirical, and practical disciplines related to bodily perception, presentation, and performance – resulted in an excellent cross-cultural study of the classical arts of love developed over centuries in such traditions as the Greco-Roman, Chinese, Indian, Muslim, Medieval and (...) European Renaissance. Somaesthetic methodology provides fertile ground for such a comparative inquiry by encouraging new ways to understand the cultural dimension of human sexuality. It complements the popular 4EC perspectives applied in cognitive science which explore cognition as embodied, embedded, enactive, and expanded: emphasizing our bodily interaction with the physical and social environment. Shusterman’s analysis of the classical arts of love as aesthetically refining sexual experience gives due acknowledgement to our somatic and sensual, but also emotional and imagery engagement in the world, commonly neglected in modern philosophy. (shrink)

Clark and Fischer's dismissal of extant human–robot interaction research approaches limits opportunities to understand major variables shaping people's engagement with social robots. Instead, this endeavour categorically requires multidisciplinary approaches. We refute the assumption that people cannot (correctly or incorrectly) represent robots as autonomous social agents. This contradicts available empirical evidence, and will become increasingly tenuous as robot automation improves.

Digital systems are reshaping how we engage with music as a sounding dimension of cultural life that is capable of being transformed into a commodity. At the same time, as we increasingly engage through digital media with each other and with virtual others, attributes of music that underpin our capacity to interact communicatively are disregarded or overlooked within those media. Even before the advent of technologies of music reproduction, music was susceptible to assimilation into economic acts of exchange. What is (...) new in the digital world is the way in which modes of engagement with music are themselves being absorbed into an economy built on the datafication of virtual acts and the digital shadows of casual preferences. But music is more than just sounds that are culturally sanctioned as musical. Music is manifested as behaviours, and in interactive behaviour. Music is participatory as well as presentational, and in the participatory mode—involving collective, non-specialist, interactive real-time music-making—has significant individual and social consequences. Yet music as real-time participation is largely absent from the virtual world, with potential social costs that remain to be understood. Moreover, our everyday, face-to-face communicative—conversational—interactions are imbued with patterns between interlocutors that are musical, in that they share features with what we are happy to describe as “music”. These features are presently lacking in digital systems designed to subserve communicative functions, and this paper will consider the significant implications for our interactions with machines to which their successful incorporation into voice–user interfaces would give rise. (shrink)

Wood, Kressel, Joshi, and Louie thoroughly evaluate the evidence for menstrual cycle shifts in ratings of several male characteristics and conclude that their analyses fail to provide supportive evidence for consistent cycle effects. The topic of menstrual cycle shifts in mate preferences has been strongly debated, with disagreements over both scientific content and practice. Here, we attempt to take a step back from these acrimonious exchanges and focus instead on how to interpret menstrual cycle shifts in mate preference tasks, independently (...) from the question of when, or if, task performance varies with cycle stage. A greater consideration of domain-general mechanisms could provide an opportunity for investigating how evolved predispositions interact with socially transmitted information in biasing women’s responses on mate preference tasks. (shrink)

There are important structural similarities in the way that animals and humans engage in unreflective activities, including unreflective social interactions in the case of higher animals. Firstly, it is a form of unreflective embodied intelligence that is ‘motivated’ by the situation. Secondly, both humans and non-human animals are responsive to ‘affordances’ (Gibson 1979); to possibilities for action offered by an environment. Thirdly, both humans and animals are selectively responsive to one affordance rather than another. Social affordances are (...) a subcategory of affordances, namely possibilities for social interaction offered by an environment: a friend’s sad face invites comforting behavior, a person waiting for a coffee machine can afford a conversation, and an extended hand affords a handshake. I will review recent insights in the nature of the bodily intentionality characteristic of unreflective action. Such ‘motor intentionality’ can be characterized as “our direct bodily inclination to act in a situated, environmental context” (Kelly 2005, p. 106). Standard interpretations of bodily intentionality see grasping an object as the paradigmatic example of motor intentionality. I will discuss the implications of another, novel perspective that emphasizes the importance of unreflective switches from one activity to another (Rietveld 2004) and understands bodily intentionality in terms of adequate responsiveness to a field of relevant affordances. In the final section I will discuss some implications for cognitive neuroscientists who use empirical findings related to the ‘mirror neuron system’ as a starting point for a theory of motor intentionality and social cognition. (shrink)

A wealth of social psychology studies suggests that moving in synchrony with another person can positively influence their likeability and prosocial behavior towards them. Recently, human-robot interaction researchers have started to develop real-time, adaptive synchronous movement algorithms for social robots. However, little is known how socially beneficial synchronous movements with a robot actually are. We predicted that moving in synchrony with a robot would improve its likeability and participants’ social motivation towards the robot, as measured by the (...) number of questions asked during a free interaction period. Using a between-subjects design, we implemented the synchrony manipulation via a drawing task. Contrary to predictions, we found no evidence that participants who moved in synchrony with the robot rated it as more likeable or asked it more questions. By including validated behavioral and neural measures, future studies can generate a better and more objective estimation of synchrony’s effects on rapport with social robots. (shrink)

Through advances in production and treatment technologies, transparent glass has become an increasingly versatile material and a global hallmark of modern architecture. In the shape of invisible barriers, it defines spaces while simultaneously shaping their lighting, noise, and climate conditions. Despite these unique architectural qualities, little is known regarding the human experience with glass barriers. Is a material that has been described as being simultaneously there and not there from an architectural perspective, actually there and/or not there from perceptual, (...) behavioral, and social points of view? In this article, we review systematic observations and experimental studies that explore the impact of transparent barriers on human cognition and action. In doing so, the importance of empirical and multidisciplinary approaches to inform the use of glass in contemporary architecture is highlighted and key questions for future inquiry are identified. (shrink)

The present paper aims to validate our research on human–humanoid interaction (HHI) using the minimalist humanoid robot Telenoid. We conducted the human–robot interaction test with 142 young people who had no prior interaction experience with this robot. The main goal is the analysis of the two social dimensions (‘‘Perception’’ and ‘‘Believability’’) useful for increasing the natural behaviour between users and Telenoid.Weadministered our custom questionnaire to human subjects in association with a well defined experimental setting (‘‘ordinary and goal-guided task’’). A (...) thorough analysis of the questionnaires has been carried out and reliability and internal consistency in correlation between the multiple items has been calculated. Our experimental results show that the perceptual behaviour and believability, as implicit social competences, could improve the meaningfulness and the natural-like sense of human–humanoid interaction in everyday life task-driven activities. Telenoid is perceived as an autonomous cooperative agent for a shared environment by human beings. (shrink)

The study explores the impact of robots’ emotional displays on people’s tendency to cooperate with a robot opponent in prisoner’s dilemma games. Participants played iterated prisoner’s dilemma games with a non-expressive robot (as a measure of cooperative baseline), followed by an angry, and a sad robot, in turn. Based on the Emotion as Social Information model, we expected participants with higher cooperative predispositions to cooperate less when a robot displayed anger, and cooperate more when the robot displayed sadness. Contrarily, (...) according to this model, participants with lower cooperative predispositions should cooperate more with an angry robot and less with a sad robot. The results of 60 participants failed to support the predictions. Only the participants’ cooperative predispositions significantly predicted their cooperative tendencies during gameplay. Participants who cooperated more in the baseline measure also cooperated more with the robots displaying sadness and anger. In exploratory analyses, we found that participants who accurately recognised the robots’ sad and angry displays tended to cooperate less with them overall. The study highlights the impact of personal factors in human–robot cooperation, and how these factors might surpass the influence of bottom-up emotional displays by the robots in the present experimental scenario. (shrink)

Psychologists are increasingly interested in embodiment based on the assumption that thoughts, feelings, and behaviors are grounded in bodily interaction with the environment. We examine how embodiment is used in social psychology, and we explore the ways in which embodied approaches enrich traditional theories. Although research in this area is burgeoning, much of it has been more descriptive than explanatory. We provide a critical discussion of the trajectory of embodiment research in social psychology. We contend that (...) future researchers should engage in a phenomenon-based approach, highlight the theoretical boundary conditions and mediators involved, explore novel action-relevant outcome measures, and address the role of individual differences broadly defined. Such research will likely provide a more explanatory account of the role of embodiment in general terms as well as how it expands the knowledge base in social psychology. (shrink)

The aim of this paper is to provide a theoretical and formal framework to understand how the proprioceptive and kinesthetic system learns about body position and possibilities for movement in ongoing action and interaction. Whereas most weak embodiment accounts of proprioception focus on positionalist descriptions or on its role as a source of parameters for internal motor control, we argue that these aspects are insufficient to understand how proprioception is integrated into an active organized system in continuous and dynamic interaction (...) with the environment. Our strong embodiment thesis is that one of the main theoretical principles to understand proprioception, as a perceptual experience within concrete situations, is the coupling with kinesthesia and its relational constitution—self, ecological, and social. In our view, these aspects are underdeveloped in current accounts, and an enactive sensorimotor theory enriched with phenomenological descriptions may provide an alternative path toward explaining this skilled experience. Following O'Regan and Noë sensorimotor contingencies conceptualization, we introduce three distinct notions of proprioceptive kinesthetic-sensorimotor contingencies, which we describe conceptually and formally considering three varieties of perceptual experience in action: PK-SMCs-self, PK-SMCs-self-environment, and PK-SMC-self-other. As a proof of concept of our proposal, we developed a minimal PK model to discuss these elements in detail and show their explanatory value as important guides to understand the proprioceptive/kinesthetic system. Finally, we also highlight that there is an opportunity to develop enactive sensorimotor theory in new directions, creating a bridge between the varieties of experiences of oneself and learning skills. (shrink)

What Kyselo calls the “body-social problem” concerns whether to individuate the human self in terms of its bodily aspects or social aspects. In her view, either approach risks privileging one dimension while reducing the other to a mere contextual element. However, she proposes that principles from enactivism can help us to find a middle ground and solve the body-social problem. Here Kyselo looks to the notions of “needful freedom” and "individuation through and from a world" and (...) extends them from the realm of biological individuation to an individuation in terms of social interactions. However, I will argue that because Kyselo’s solution to the body-social problem downplays the role of the living body, it actually is in tension with the enactivist framework. First, while enactivism places the living body at the center of selfhood and subjectivity, Kyselo’s account treats the living body as mere means and mediator. Second, her claim that the self is socially enacted and individuated is in tension with the enactivist conception of autonomous agency, which centers on the autonomous organization of the living body. However, suppose we grant Kyselo’s claim that we are necessarily social beings, but claim that the mind of a minded human animal constitutively extends to the limits of its living organismic body, but no further. My proposed “life shaping” thesis says that the self is not just essentially embodied, but also partially causally determined or shaped by social interactions, and thoroughly influenced by social norms and values. The life shaping thesis can explain how the self is individuated biologically, in terms of the autonomous organization of the living body, but nonetheless deeply embedded in the social world. (shrink)

This essay aims to expose the metaphysical underpinnings of enactivism. While enactivism relies heavily on rejecting the traditional mind-body problem by excluding the familiar thought experiments that favor phenomenal dualism, the crucial point that is overlooked is instead the brain-body problem, specifically the crucial interaction between the brain and the bodily limbs in their embodied activities of perception and cognition. If enactivism is correct, differences in sensory experience necessarily entail differences in embodied activity—this is the metaphysical core (...) of enactivism, which we think is entirely wrong. We will argue that a physical or biological body ("Körper") is configured or shaped into a perceptually living body ("Leib") by brain patterns and not by embodied activity or by the so-called sensorimotor contingencies. Undoubtedly, embodied actions influence sensory perception. However, since variations in embodied actions do not necessarily lead to variations in sensory experience, they are not metaphysically constitutive of these experiences (supervenience claim). (shrink)

This study investigates moments in which one participant in an interaction embodies that he is “doing thinking,” a display that is commonly referred to as “thinking face. ” From an interactional perspective, it is assumed that embodied displays of “doing thinking” are a recurring social practice and serve interactive functions. While previous studies have examined thinking faces primarily in word searches and storytelling, the present study focuses on argumentative activities, in which children engage in processes of joint decision-making. (...) The paper has two interrelated aims. The first aim is to describe how multiple modalities—beyond the face—are temporally coordinated to create multimodal gestalts of “doing thinking.” It is shown that thinking displays not only involve dynamic imaginative gaze but also stylized bodily postures. The second aim is to generate knowledge about the functions of thinking displays in children's argumentative activities. The analysis describes how both speakers and recipients use thinking displays in different turn positions and align them with verbal talk or silence. The data for this study comprise video recordings of decision-making processes in groups of older children. Drawing on a multimodal approach to situated interaction, it will be proposed that embodied displays of “doing thinking” provide a resource to shape participation frameworks, mark epistemic stances and create epistemic ecologies for collaborative reasoning. By investigating thinking displays in a particular conversational activity, the study sheds light on the diversity and context-sensitive functionality of thinking displays. It also contributes to recent research on children's collaborative reasoning as an embodied discursive practice. (shrink)

In the past, notions of embodiment have been applied to robotics mainly in the realm of very simple robots, and supporting low-level mechanisms such as dynamics and navigation. In contrast, most human-like, interactive, and socially adept robotic systems turn away from embodiment and use amodal, symbolic, and modular approaches to cognition and interaction. At the same time, recent research in Embodied Cognition (EC) is spanning an increasing number of complex cognitive processes, including language, nonverbal communication, learning, and social (...) behavior.This article suggests adopting a modern EC approach for autonomous robots interacting with humans. In particular, we present three core principles from EC that may be applicable to such robots: (a) modal perceptual representation, (b) action/perception and action/cognition integration, and (c) a simulation-based model of top-down perceptual biasing. We describe a computational framework based on these principles, and its implementation on two physical robots. This could provide a new paradigm for embodied human–robot interaction based on recent psychological and neurological findings. (shrink)

This article investigates relationships between countries' legal traditions and their quality of life as measured by a number of widely reported social indicators; in so doing it also offers a critique of a highly influential body of work which is widely cited in the literatures of corporate governance, economics and finance. That body of work has shown, inter alia, statistically significant relationships between legal traditions and various proxies for investor protection. We show statistically significant relationships between legal traditions (...) and various proxies for societal health. Our comparative evidence suggests that the interests of investors are not congruent with the interests of wider society, and that the criteria for judging the effectiveness of approaches to corporate governance should be broadened. (shrink)

Empathy is an integral aspect of human existence. Without at least a basic ability to access others’ affective life, social interactions would be well-nigh impossible. Yet, recent studies seem to show that the means we have acquired to access others’ emotional life no longer function well in what has become our everyday business – technologically mediated interactions in digital spaces. If this is correct, there are two important questions: (1) What makes empathy for frequent internet users so difficult? and (...) (2) What can we do to alleviate the negative consequences? Correspondingly, the aim of this paper is twofold. First, we identify structural differences between offline and technologically mediated interactions that can explain why digital empathy is harder to achieve. Second, drawing on the literature on ‘situated affectivity,’ we consider the idea of modifying digital spaces in ways specifically designed to ‘scaffold’ empathy where our evolved mechanisms fail. Section 2 argues that empathy is requires interpreting the behavior of embodied subjects. Section 3 identifies three factors that are crucial for this interpretative endeavor: the empathizer’s affective repertoire, their perceptual input, and their background knowledge. Section 4 argues that technologically mediated interactions differ from face-to-face interactions with regard to these factors in ways which render our evolved empathy mechanisms less effective in the digital world. Section 5 introduces the idea that situational factors can serve as ‘empathic scaffolds,’ i.e., as ‘tools’ that can ‘shape’ people’s empathic reactions. Section 6 wraps up the main line of reasoning, responds to objections and invites further scholarship. (shrink)

Emotions, Embodied Cognition and the Adaptive Unconscious argues for the need to consider many other factors, drawn from disciplines such as socio-biology, evolutionary psychology, the study of the emotions, the adaptive unconscious, the senses and conscious deliberation in analysing the complex topography of social action and the making of things. These factors are taken as ecological conditions that shape the contemporary expression of complex societies, not as constraints on human plasticity Without 'foundations', complex society cannot exist nor less (...) evolve. This is the familiar pairing from complexity theory: path dependency and dynamic emergence. Inter-disciplinary and complexity perspectives need to be incorporated into the social sciences. Routinely, sociologists think of social phenomena as a distinct field, expressed in the term: the 'social construction of' without apparent need to refer to other material, biological, psychological, material or ecological conditions or agents. This book shows how the familiar sociological dynamics of identity, solidarity, differentiation and communication are shaped through the persistent interaction of unconscious and affective processing with conscious deliberation in newly emergent contexts. It is this re-expression, not the surpassing, of human characteristics in contemporary social action that needs to re-inform a complex, ecological approach to the theory and methodologies of the social sciences. The book is intended for a postgraduate/research audience and doctoral students to introduce and synthesise inter-disciplinary contributions to research into complexity theory in the social sciences. (shrink)

Much of the characteristic symptomatology of schizophrenia can be understood as resulting from a pervasive sense of disembodiment. The body is experienced as an external machine that needs to be controlled with explicit intentional commands, which in turn leads to severe difficulties in interacting with the world in a fluid and intuitive manner. In consequence, there is a characteristic dissociality: Others become problems to be solved by intellectual effort and no longer present opportunities for spontaneous interpersonal alignment. This dissociality goes (...) hand in hand with a progressive loss of the socially extended mind, which normally affords opportunities for co-regulation of cognitive and affective processes. However, at times people with schizophrenia report that they are confronted by the opposite of this dissociality, namely an unusual fluidity of the self-other boundary as expressed in experiences of ambiguous body boundaries, intrusions, and even merging with others. Here the person has not lost access to the socially extended mind but has instead become lost in it, possibly due to a weakened sense of self. We argue that this neglected aspect of schizophrenic social dysfunction can be usefully approached via the concept of genuine intersubjectivity: We normally participate in a shared experience with another person by implicitly co-regulating how our interaction unfolds. This co-regulation integrates our respective experience’s dynamical bases into one interpersonal process and gives the interaction an ambiguous second-person character. The upshot is that reports of abnormal self-other fluidity are not indicative of hallucinations without any basis in reality, but of a heightened sensitivity and vulnerability to processes of interpersonal alignment and mutual incorporation that form the normal basis of social life. We conclude by discussing implications of this view for both the science of consciousness as well as approaches to intervention and therapy. (shrink)

Embodied cognitive science holds that cognitive processes are deeply and inescapably rooted in our bodily interactions with the world. Our finite, contingent, and mortal embodiment may be not only supportive, but in some cases even constitutive of emotions, thoughts, and experiences. My discussion here will work outward from the neuroanatomy and neurophysiology of the brain to a nervous system which extends to the boundaries of the body. It will extend to nonneural aspects of embodiment and even beyond the (...) boundaries of the body to prosthetics of various kinds, including symbioses with a broad array of cultural artifacts, our symbolic niche, and our relationships with other embodied human beings. While cognition may not always be situated, its origins are embedded in temporally and spatially limited activities. Cognitive work also can be off-loaded to the body and to the environment in service of action, tool use, group cognition, and social coordination. This can blur the boundaries between brain areas, brain and body, and body and environment, transforming our understanding of mind and personhood to provide a different grounding for faith traditions in general, and of the historically dualist Christian tradition in particular. (shrink)

In the classical Turing test, participants are challenged to tell whether they are interacting with another human being or with a machine. The way the interaction takes place is not direct, but a distant conversation through computer screen messages. Basic forms of interaction are face-to-face and embodied, context-dependent and based on the detection of reciprocal sensorimotor contingencies. Our idea is that interaction detection requires the integration of proprioceptive and interoceptive patterns with sensorimotor patterns, within quite short time lapses, so (...) that they appear as mutually contingent, as reciprocal. In other words, the experience of interaction takes place when sensorimotor patterns are contingent upon one’s own movements, and vice versa. I react to your movement, you react to mine. When I notice both components, I come to experience an interaction. Therefore, we designed a “minimal” Turing test to investigate how much information is required to detect these reciprocal sensorimotor contingencies. Using a new version of the perceptual crossing paradigm, we tested whether participants resorted to interaction detection to tell apart human from machine agents in repeated encounters with these agents. In two studies, we presented participants with movements of a human agent, either online or offline, and movements of a computerized oscillatory agent in three different blocks. In each block, either auditory or audiovisual feedback was provided along each trial. Analysis of participants’ explicit responses and of the implicit information subsumed in the dynamics of their series will reveal evidence that participants use the reciprocal sensorimotor contingencies within short time windows. For a machine to pass this minimal Turing test, it should be able to generate this sort of reciprocal contingencies. (shrink)

This article offers an analysis of embodied experiences and connections in social salsa dancing. Framed within a theoretical context that views bodily practices as both the enactment of normative ideals and as a negotiation of personal freedom against normative ideals, social salsa dancing offers a rich empirical context to explore how we make sense of our bodies, bodily practices, and embodied experience. Drawing on fieldwork conducted as part of a doctoral study in addition to (...) a decade of personal experience, I argue that social salsa dancing cultivates kinesthetic, tactile, and musical senses, and emphasizes the value of attentive embodied interactions and momentary connections with others. I conclude that exploring the possibilities of these interactions and connections offers a potentially emancipatory way of working on one’s embodied self. (shrink)

Deficits in social cognition and more specifically in communication have an important impact on the real-life functioning of people with schizophrenia. In particular, patients have severe problems in communicative-pragmatics, for example, in correctly inferring the speaker’s communicative intention in everyday conversational interactions. This limit is associated with morphological and functional alteration of the left middle temporal gyrus, a cerebral area involved in various communicative processes, in particular in the distinction of ironic communicative intention from sincere and deceitful ones. We (...) performed an fMRI study on 20 patients with SZ and 20 matched healthy controls while performing a pragmatic task testing the comprehension of sincere, deceitful, and ironic communicative intentions. We considered the L-MTG as the region of interest. SZ patients showed difficulties in the correct comprehension of all types of communicative intentions and, when correctly answering to the task, they exhibited a higher activation of the L-MTG, as compared to HC, under all experimental conditions. This greater involvement of the L-MTG in the group of patients could depend on different factors, such as the increasing inferential effort required in correctly understanding the speaker’s communicative intentions, and the higher integrative semantic processes involved in sentence processing. Future studies with a larger sample size and functional connectivity analysis are needed to study deeper the specific role of the L-MTG in pragmatic processes in SZ, also in relation to other brain areas. (shrink)

Introduction: Traditionally, empathy has been studied from two main perspectives: the theory-theory approach and the simulation theory approach. These theories claim that social emotions are fundamentally constituted by mind states in the brain. In contrast, classical phenomenology and recent research based on enactive theories consider empathy as the basic process of contacting others’ emotional experiences through direct bodily perception and sensation. Objective: This study aims to enrich knowledge of the empathic experience of pain by using an experimental phenomenological (...) method. Method: Implementing an experimental paradigm used in affective neuroscience, we exposed 28 healthy adults to a video of sportspersons suffering physical accidents while practicing extreme sports. Immediately after watching the video, each participant underwent a phenomenological interview to gather data on embodied, multi-layered dimensions (bodily sensations, emotions, and motivations) and temporal aspects of empathic experience. We also performed quantitative analyses of the phenomenological categories. Results: Experiential access to the other person’s painful experience involves four main-themes. Bodily resonance: participants felt a multiplicity of bodily, affective, and kinesthetic sensations. Attentional focus: some participants centered their attention more on their own personal discomfort and sensations of rejection, while others on the pain and suffering experienced by the sportspersons. Kinesthetic motivation: some participants experienced the feeling in their bodies to avoid or escape from watching the video, while others experienced the need to help the sportspersons avoid suffering any injury while practicing extreme sports. Temporality of experience: participants witnessed temporal fluctuations in their experiences, bringing intensity changes in their bodily resonance, attentional focus, and kinesthetic motivation. Finally, two experiential structures were found: one structure is self-centered empathic experience, characterized by bodily resonance, attentional focus centered on the participant’s own experience of seeing the sportsperson suffering, and self-protective kinesthetic motivation; the other structure is other-centered empathic experience, characterized by bodily resonance, attentional focus centered on the sportsperson, and prosocial kinesthetic motivation to help them. Discussion: We show how phenomenological data may contribute to comprehending empathy for pain in social neuroscience. In addition, we address the phenomenological aspect of the enactive approach to the three dimensions of embodiment of human consciousness, especially the intersubjective dimension. Also, based on our results, we suggest an extension of the enactive theory for non-interactive social experience. (shrink)