http://science.sciencemag.org/content/sci/201/4359/899.2.full.pdf

Phenomenology of perception.

The theory of affordances

The cultural origins of human cognition

Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The outside world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the governing laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Several lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual \"filling in,\" visual stability despite eye movements, change blindness, sensory substitution, and color perception.

A sensorimotor account of vision and visual consciousness-Authors' Response-Acting out our sensory experience

/pdf/introduction-to-the-modern-theory-of-dynamical-systems-1eced70mum.pdf

Introduction to the Modern Theory of Dynamical Systems

In the current study, we investigate the implementation of a musical workshop in an early childhood education setting. The workshop is based on a shared space for musical creativity (the Active Mus...

/pdf/the-active-musical-room-fostering-sensorimotor-discoveries-3koawe619v.pdf

The Active Musical Room: Fostering Sensorimotor Discoveries and Musical Creativity in Toddlers:

An enactive account of musicality that proposes new ways of thinking about musical experience, musical development in infancy, music and evolution, and more.Musical Bodies, Musical Minds offers an innovative account of human musicality that draws on recent developments in embodied cognitive science. The authors explore musical cognition as a form of sense-making that unfolds across the embodied, environmentally embedded, and sociomaterially extended dimensions that compose the enactment of human worlds of meaning. This perspective enables new ways of understanding musical experience, the development of musicality in infancy and childhood, music's emergence in human evolution, and the nature of musical emotions, empathy, and creativity.
 Developing their account, the authors link a diverse array of ideas from fields including neuroscience, theoretical biology, psychology, developmental studies, social cognition, and education. Drawing on these insights, they show how dynamic processes of adaptive body-brain-environment interactivity drive musical cognition across a range of contexts, extending it beyond the personal (inner) domain of musical agents and out into the material and social worlds they inhabit and influence. An enactive approach to musicality, they argue, can reveal important aspects of human being and knowing that are often lost or obscured in the modern technologically driven world.

Musical Bodies, Musical Minds

Abstract In this paper we offer a preliminary framework that highlights the relational nature of solo music-making, and its associated capacity to influence the constellation of habits and experiences one develops through acts of musicking. To do so, we introduce the notion of extended musical historicity and suggest that when novice and expert performers engage in individual musical practices, they often rely on an extended sense of agency which permeates their musical experience and shapes their creative outcomes. To support this view, we report on an exploratory, qualitative study conducted with novice and expert music performers. This was designed to elicit a range of responses, beliefs, experiences and meanings concerning the main categories of agency and creativity. Our data provide rich descriptions of solitary musical practices by both novice and expert performers, and reveal ways in which these experiences involve social contingencies that appear to generate or transform creative musical activity. We argue that recognition of the interactive components of individual musicking may shed new light on the cognition of solo and joint music performance, and should inspire the development of novel conceptual and empirical tools for future research and theory.

https://www.pure.ed.ac.uk/ws/files/213879682/SchiavioEtal2021JRMAByMyselfButNotAlone.pdf

By Myself but Not Alone. Agency, Creativity and Extended Musical Historicity

Moving Ourselves, Moving Others is an excellent collection of different contributions, whose main goal is to explore, from an interdisciplinary perspective, the interplay between bodily motion and 

/pdf/moving-ourselves-moving-others-motion-and-emotion-in-2o0dkroaa0.pdf

Moving Ourselves, Moving Others: Motion and Emotion in Intersubjectivity, Consciousness, and Language

https://constructivist.info/11/2/315.schiavio.pdf

Andrea Schiavio

Papers

The Active Musical Room: Fostering Sensorimotor Discoveries and Musical Creativity in Toddlers:

Musical Bodies, Musical Minds

By Myself but Not Alone. Agency, Creativity and Extended Musical Historicity

Moving Ourselves, Moving Others: Motion and Emotion in Intersubjectivity, Consciousness, and Language

Enactive affordances and the interplay of biological and phenomenological subjectivity