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

Phenomenology of perception.

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Mind over Machine.

O VER THE PAST 25 YEARS OUR UNDERSTANDING of how music interacts with the human mind and brain has grown rapidly, and multimedia technologies have augmented the ways in which we engage with music. In Embodied Music Cognition and Mediation Technology, Marc Leman examines how these developments might be unified into something that is simultaneously a theory of music cognition and a blueprint for the music mediation technology of the future. Mediation refers to the mappings between the intentions and desires on the part of active musical participants and the technology that renders the music. The main mediating principle elaborated on in the monograph, which is more intellectual discourse than textbook, is rooted in the belief that musical interactions are socially charged, embodied affairs. Thus, individuals understand music in the same way that they understand others’ intentions during social interaction, and expressive intentions are attributed to music because patterns of sonic energy evoke bodily gestures that are meaningful to an individual due to his or her personal history as an active participant within a cultural environment. The first three chapters contextualize the embodied music cognition approach. In Chapter 1, Leman sets the scene by making clear the challenges that face those who are concerned with how subjective musical experiences are linked to physical sound patterns. Chapter 2 then deals with the diversity of paradigms that are relevant to the business of interdisciplinary music research. Here Leman adeptly identifies relationships between trends in music research, such as the emergence of systematic musicology, and landmark developments in the discipline of psychology, such as the advent of the Gestalt school and cognitivism. He also charts the progress made in the fields of technology, information theory, and computational modeling, with well selected philosophical matter visited along the way. This serves as a historical prelude to the birth of the modern embodied cognition paradigm, which asserts that, “knowledge does not emerge from passive perception, but from the need to act in an environment” (p. 43). In Chapter 3, Leman expands upon this ecological theme with a view toward music mediation technology, developing the premise that mediating technology should exploit the way in which individuals naturally engage themselves with music. The ensuing chapters delve into the details of what embodied music cognition means. Chapters 4 and 5 build a case for why it makes sense to think about engagement with music in terms of corporeal articulations and action-based ontologies, and how these lead to pleasurable experiences with music, whereas Chapters 6 and 7 describe how this type of framework might play itself out in musical instrument and music retrieval technologies. Throughout these chapters, Leman articulates a framework in which performer/music/listener interactions can be structured/mediated. The framework contends with the formidable challenges inherent in mapping between the intentions, actions, and percepts of individuals and very specific musical signals. Ultimately, the problem is one of identifying relationships between semantics and musical structure, and then specifying the technological requirements for accomplishing the translation from one to the other. Leman breaks the problem down into three interacting conceptual levels, which he talks about as first-person, second-person, and third-person descriptions. Thirdperson descriptions are objective representations of the structural features of the music, whereas first-person descriptions are subjectively assigned semantic labels that refer to expressive intentions. According to Leman, previous approaches to understanding music (e.g., traditional musicology) have fixated upon these two levels of description without giving adequate treatment to the “rules” that govern the mapping between objective representations and subjective interpretations. Such rules are needed to achieve his scientific goal of developing a complete theory of music, as well as his practical goal of developing a successful mediation technology. The key to Leman’s solution is the proposal that an understanding of musical intentions requires third-person and first-person descriptions to be linked via second-person descriptions, which are corporeal in nature. At this intermediate level, expressive bodily gestures from an individual’s repertoire of actions are used to describe moving sonic forms in a manner that the individual can interpret based on his or

https://www.jstor.org/stable/info/10.1525/mp.2009.26.3.289

Embodied music cognition and mediation technology

The phenomenology of internal time‐consciousness

This article reviews the hypothesis that mind wandering can be integrated into executive models of attention. Evidence suggests that mind wandering shares many similarities with traditional notions of executive control. When mind wandering occurs, the executive components of attention appear to shift away from the primary task, leading to failures in task performance and superficial representations of the external environment. One challenge for incorporating mind wandering into standard executive models is that it often occurs in the absence of explicit intention--a hallmark of controlled processing. However, mind wandering, like other goal-related processes, can be engaged without explicit awareness; thus, mind wandering can be seen as a goal-driven process, albeit one that is not directed toward the primary task.

The restless mind

Research in phenomenology has benefitted from using exceptional cases from pathology and expertise. But exactly how are we to generate and apply knowledge from such cases to the phenomenological domain? As researchers of cerebral palsy and musical absorption, we together answer the how question by pointing to the resource of the qualitative interview. Using the qualitative interview is a direct response to Varela’s call for better pragmatics in the methodology of phenomenology and cognitive science and Gallagher’s suggestion for phenomenology to develop its methodology and outsource its tasks. We agree with their proposals, but want to develop them further by discussing and proposing a general framework that can integrate research paradigms of the well-established disciplines of phenomenological philosophy and qualitative science. We give this the working title, a “phenomenological interview”. First we describe the what of the interview, that is the nature of the interview in which one encounters another subject and generates knowledge of a given experience together with this other subject. In the second part, we qualify why it is worthwhile making the time-consuming effort to engage in a phenomenological interview. In the third and fourth parts, we in general terms discuss how to conduct the interview and the subsequent phenomenological analysis, by discussing the pragmatics of Vermersch’s and Petitmengin’s “Explicitation Interview”.

Framing a phenomenological interview: what, why and how

In this article we explore the role of pre-reflective, embodied, and interactive intentionality in joint musical performance. Putting together insights from phenomenology and current theories in cognitive science, we present a case study based on qualitative interviews with the Danish String Quartet (DSQ). A total of 12 hours of interviews was recorded, drawing on ethnography-related methodologies during tours with the DSQ in Denmark and England in 2012 and 2013, focusing mainly on their experience of perception, intentionality, absorption, selfhood and intersubjectivity. The analysis emerging from our data suggests that expert musicians’ experience of collective music-making is rooted in the dynamical patterns of perception and action that co-constitute the sonic environment(s) in which they are embedded, and that the role of attention and other reflective processes should therefore be reconsidered. In putting forward our view on ensemble cohesion, we challenge Keller’s and Seddon and Biasutti’s influent...

Playing together without communicating? A pre-reflective and enactive account of joint musical performance:

http://link.springer.com/content/pdf/10.1007/978-3-030-00659-4.pdf

A Phenomenology of Musical Absorption

We argue that the majority of intelligence definitions fail to recognize that the normative epistemic status of intelligence is knowledge and not an inferior alternative. We refute the counter-arguments that intelligence ought not to be seen as knowledge because of 1) its action-oriented scope and 2) its future-oriented content. We dismiss the traditional infallibilistic understanding of knowledge and follow David Lewis' argument, that knowledge is fallible and context-sensitive. Thus, we argue for the importance of developing a methodology by which the entitlement, justification and robustness of claims to intelligence-knowledge can be assessed.

The Epistemic Status of Intelligence: An Epistemological Contribution to the Understanding of Intelligence

For decades, qualitative researchers have used phenomenological thinking to advance reflections on particular kinds of lifeworlds. As emphasised by Allen-Collinson phenomenology offers a continuing promise of ‘bringing the body back in’ to theories on sport and physical activity. Turning to philosophy, traditionally, phenomenologists have not paid much attention to qualitative research. Nevertheless, phenomenology does contain a strong emphasis on using ‘data’ or experiences from daily life and on drawing on data from medical pathology. In other words while qualitative researchers employ phenomenology to empirically investigate the domain of sport and exercise, phenomenologists employ empirical data to substantiate their claims concerning foundational conditions of our being-in-the-world. In this article, we suggest a way to enhance the collaboration between the two fields by pointing out and giving examples of the resource of ‘the factual variation.’ Coined by Shaun Gallagher and developed from t...

/pdf/the-promise-of-sporting-bodies-in-phenomenological-thinking-2uxrdzsd3n.pdf

The promise of ‘sporting bodies’ in phenomenological thinking – how exceptional cases of practice can contribute to develop foundational phenomenological concepts

Simon Høffding

Papers

Framing a phenomenological interview: what, why and how

Playing together without communicating? A pre-reflective and enactive account of joint musical performance:

A Phenomenology of Musical Absorption

The Epistemic Status of Intelligence: An Epistemological Contribution to the Understanding of Intelligence

The promise of ‘sporting bodies’ in phenomenological thinking – how exceptional cases of practice can contribute to develop foundational phenomenological concepts