What constitutes our human capacity to engage and be in the same frame of mind as another human? How do we come to share a sense of what ‘looks good’ and what ‘makes sense’? How do we handle differences and come to coexist with them? How do we come to feel that we understand what someone else is experiencing? How are we able to walk in silence with someone familiar and be sharing a peaceful space? All of these aspects are (...) part of human ‘interaction’. In designing interactive technologies designers have endeavoured to explicate, analyse and simulate, our capacity for social adaptation. Their motivations are mixed and include the desires to improve efficiency, improve consumption, to connect people, to make it easier for people to work together, to improve education and learning. In these endeavours to explicate, analyse and simulate, there is a fundamental human capacity that is beyond technology and that facilitates these aspects of being, feeling and thinking with others. That capacity, we suggest, is human entrainment. This is our ability to coordinate the timing of our behaviours and rhythmically synchronise our attentional resources. Expressed within the movements of our bodies and voices, it has a quality that is akin to music. In this paper, disparate domains of research such as pragmatics, social psychology, behaviourism, cognitive science, computational linguistics, gesture, are brought together, and considered in light of the developments in interactive technology, in order to shape a conceptual framework for understanding entrainment in everyday human interaction. (shrink)

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

The notion that the brain is a prediction error minimizer entails, via the notion of Markov blankets and self-evidencing, a form of global scepticism — an inability to rule out evil demon scenarios. This type of scepticism is viewed by some as a sign of a fatally flawed conception of mind and cognition. Here I discuss whether this scepticism is ameliorated by acknowledging the role of action in the most ambitious approach to prediction error minimization, namely under the free energy (...) principle. I argue that the scepticism remains but that the role of action in the free energy principle constrains the demon’s work. This yields new insights about the free energy principle, epistemology, and the place of mind in nature. (shrink)

Displacements in the remembered location of stimuli in displays based on Michotte’s (1946/1963) launching effect and entraining effect were examined. A moving object contacted an initially stationary target, and the target began moving. After contacting the target, the mover became stationary (launching trials) or continued moving in the same direction and remained adjacent to the target (entraining trials). In launching trials, forward displacement was smaller for targets than for movers; in entraining trials, forward displacement was smaller for movers than for (...) targets. Also, forward displacement was smaller for targets in launching trials than for targets in entraining trials. Data are consistent with a hypothesis that the launching effect involves an attribution that the mover imparted to the target a dissipating impetus that was responsible for target motion. Introspective experience of a perception of physical causality in the launching effect might result because behavior of movers and targets is consistent with that predicted by an impetus heuristic. (shrink)

Rhythmic entrainment is the formation of regular, predictable patterns in time and/or space through interactions within or between systems that manifest potential symmetries. We contend that this process is a major source of symmetries in specific systems, whether passive physical systems or active adaptive and/or voluntary/intentional systems, except that active systems have more control over accepting or avoiding rhythmic entrainment. The result of rhythmic entrainment is a simplification of the entrained system, in the sense that the information (...) required to describe it is reduced. Entrainment can be communicated, passing information from one system to another. The paradigm is a group of jazz percussionists agreeing on a complex musical progression. The process of rhythmic entrainment is complementary to that of symmetry breaking, which produces information. The two processes account for much, if not all, of the complexity and organization in the universe. Rhythmic entrainment can be more or less spontaneous, with the completely spontaneous form being uncontrollable. A balance between the two forms can produce a more robust system, requiring less energy to maintain, whether in physical, biological or social systems. We outline some applications in physics, chemistry, biology, measurement and communication, ending with the especially interesting case of social and economic order. First though, we must introduce some basic principles. (shrink)

In this essay I address Derrida’s influential readings of the Course in General Linguistics attributed to Ferdinand de Saussure in Of Grammatology and Glas. I complicate Derrida’s charge of phonocentrism, that is, the charge that Saussure privileges the medium of sound and/or speech as a site of unmediated signifying presence, by re-examining the relevant sections from the Course in light of the materials related to Saussure’s linguistics from the Nachlass, some of them recently discovered. I document especially the extent of (...) editorial involvement in the sections discussed by Derrida that deal with the purportedly ‘natural’ expressions like onomatopoeias and interjections, and with the relation between speech and writing. I make the case that ultimately Derrida’s charge that Saussure’s linguistics is burdened by an allegiance to the metaphysics of presence carries limited force, and that Derrida’s and Saussure’s understanding of signification turn out to be closer related than previously thought: they share the view that entrainment and contamination are inevitable. (shrink)

We find symmetry attractive. It is often an indicator of the deep structure of things, whether they be natural phenomena, or artificial. For example, the most fundamental conservation laws of physics are all based in symmetry. Similarly, the symmetries found in religious art throughout the world are intended to draw attention to deep spiritual truths. Not only do we find symmetry pleasing, but its discovery is often also surprising and illuminating as well. For these reasons, we are inclined to think (...) that symmetries are informative. On the other hand, symmetries represent a kind of invariance under transformation, i.e., redundancies. Redundancy, in turn, implies that the information content of a symmetrical structure or configuration is less than that of a similar nonsymmetrical structure. Symmetry, then, entails a reduction in information content. These considerations present us with somewhat of a paradox. On the one hand, many symmetries that we find in the world are surprising, and surprise indicates informativeness. On the other hand, the surprise value of information arises because it presents us with the unexpected or improbable, but symmetries, far from creating the unexpected, ensure that the known can be extended through invariant transformations. How can this paradox be resolved? Rhythmic entrainment is the formation of regular, predictable patterns in time and/or space through interactions within or between systems (resulting in symmetry). The result of entrainment is a simplification of the entrained system. It is the complement to symmetry breaking. Entrainment can be either forced or spontaneous, with the spontaneous form being uncontrollable. It results from processes that are called self-organising. Interestingly, spontaneous entrainment require much less power to form and maintain. It is also the source of levels in systems. I finish with some observations for social systems. (shrink)

Music uses the evolutionarily unique temporal sensitivity of the auditory system and its tight coupling to the motor system to create a common neurophysiological clock between individuals that facilitates action coordination. We propose that this shared common clock arises from entrainment to musical rhythms, the process by which partners' brains and bodies become temporally aligned to the same rhythmic pulse.

In A Million Years of Music, Gary Tomlinson develops an extensive evolutionary narrative that emphasises several important components of human musicality and proposes a theory of the coalescence of these components. In this essay I tie some of Tomlinson’s ideas to five constraints on theories of music’s evolution. This provides the framework for organising my reconstruction of his model. Thereafter I focus on Tomlinson’s description of ‘entraining’ Acheulean toolmakers and offer several criticisms. I close with some tentative proposals for further (...) theorising. (shrink)

Orgasm is one of the most intense pleasures attainable to an organism, yet its underlying mechanisms remain poorly understood. On the basis of existing literatures, this article introduces a novel mechanistic model of sexual stimulation and orgasm. In doing so, it characterizes the neurophenomenology of sexual trance and climax, describes parallels in dynamics between orgasms and seizures, speculates on possible evolutionary origins of sex differences in orgasmic responding, and proposes avenues for future experimentation. Here, a model is introduced wherein sexual (...) stimulation induces entrainment of coupling mechanical and neuronal oscillatory systems, thus creating synchronized functional networks within which multiple positive feedback processes intersect synergistically to contribute to sexual experience. These processes generate states of deepening sensory absorption and trance, potentially culminating in climax if critical thresholds are surpassed. The centrality of rhythmic stimulation (and its modu... (shrink)

Brain states, which correlate with specific motor, cognitive, and emotional states, may be monitored with noninvasive techniques such as electroencephalography and magnetoencephalography that measure macroscopic cortical activity manifested as oscillatory network dynamics. These rhythmic cortical signatures provide insight into the neuronal activity used to identify pathological cortical function in numerous neurological and psychiatric conditions. Sensory and transcranial stimulation, entraining the brain with specific brain rhythms, can effectively induce desired brain states correlated with such cortical rhythms. Because brain states have distinct (...) neural correlates, it may be possible to induce a desired brain state by replicating these neural correlates through stimulation. To do so, we propose recording brain waves from a “donor” in a particular brain state using EEG/MEG to extract cortical signatures of the brain state. These cortical signatures would then be inverted and used to entrain the brain of a “recipient” via sensory or transcranial stimulation. We propose that brain states may thus be transferred between people by acquiring an associated cortical signature from a donor, which, following processing, may be applied to a recipient through sensory or transcranial stimulation. This technique may provide a novel and effective neuromodulation approach to the noninvasive, non-pharmacological treatment of a variety of psychiatric and neurological disorders for which current treatments are mostly limited to pharmacotherapeutic interventions. (shrink)

Synchronous oscillations are ubiquitous throughout the cortex, but the frequency of oscillations differs from area to area. To elucidate the mechanistic architectures underlying various rhythmic activities, we tested whether spontaneous neural oscillations in different local cortical areas and large-scale networks can be phase-entrained by direct perturbation with distinct frequencies of repetitive transcranial magnetic stimulation. While recording the electroencephalogram, we applied single-pulse TMS and rTMS at 5, 11, and 23 Hz over the motor or visual cortex. We assessed local and global (...) modulation of phase dynamics using the phase-locking factor. sp-TMS to the motor and the visual cortex triggered a transient increase in PLF in distinct frequencies that peaked at 21 and 8 Hz, respectively. rTMS at 23 Hz over the motor cortex and 11 Hz over the visual cortex induced a prominent and progressive increase in PLF that lasted for a few cycles after the termination of rTMS. Moreover, the local increase in PLF propagated to other cortical areas. These results suggest that distinct cortical areas have area-specific oscillatory frequencies, and the manipulation of oscillations in local areas impacts other areas through the large-scale oscillatory network with the corresponding frequency specificity. We speculate that rTMS that is close to area-specific frequencies enables direct manipulation of brain dynamics and is thus useful for investigating the causal roles of synchronous neural oscillations. Moreover, this technique could be used to treat clinical symptoms associated with impaired oscillations and synchrony. (shrink)

To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical skills with conceptual understanding, improvisation is adaptive and collaborative. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research in the (...) cognitive sciences, phenomenology, neuroscience, and philosophy, using examples from modern dance and jazz music. The account may be used for generating cross-disciplinary hypotheses about improvisation for investigation within a multitude of fields and is meant to encourage interdisciplinary work and collaboration between practitioners and academic researchers. The major goal is to elucidate the interaction dynamics that underlies joint improvisation by considering the variety of processes that support sensorimotor, experiential, emotional, meta-cognitive, and collaborative forms of interaction and lead to the coordination and synchronization of behavior. I claim that improvisation is an intelligent cognitive skill associated with meta-awareness, open to monitoring and control. It involves both automatized and flexible behavior and can occur without conscious awareness. Improvising in principle is independent of verbal language and higher-order thought, but nevertheless profits from the presence of multiple converging processes. (shrink)

Previous studies examining EEG and LORETA in patients with chronic pain discovered an overactivation of high theta and low beta power in central regions. MEG studies with healthy subjects correlating evoked nociception ratings and source localization described delta and gamma changes according to two music interventions. Using similar music conditions with chronic pain patients, we examined EEG in response to two different music interventions for pain. To study this process in-depth we conducted a mixed-methods case study approach, based on three (...) clinical cases. Effectiveness of personalized music therapy improvisations versus preferred music on chronic pain was examined with 16 participants. Three patients were randomly selected for follow-up EEG sessions three months post-intervention, where they listened to recordings of the music from the interventions provided during the research. To test the difference of EM versus preferred music, recordings were presented in a block design: silence, their own composed EM, preferred music, and a non-participant’s EM as a control. Participants rated their pain before and after the EEG on a 1–10 scale. We conducted a detailed single case analysis to compare all conditions, as well as a group comparison of entrainment-healing condition versus preferred music condition. Power spectrum and according LORETA distributions focused on expected changes in delta, theta, beta, and gamma frequencies, particularly in sensory-motor and central regions. Intentional moment-by-moment attention on the sounds/music rather than on pain and decreased awareness of pain was experienced from one participant. Corresponding EEG analysis showed accompanying power changes in sensory-motor regions and LORETA projection pointed to insula-related changes during entrainment-pain music. LORETA also indicated involvement of visual-spatial, motor, and language/music improvisation processing in response to his personalized EM which may reflect active recollection of creating the EM. Group-wide analysis showed common brain responses to personalized entrainment-healing music in theta and low beta range in right pre- and post-central gyrus. We observed somatosensory changes consistent with processing pain during entrainment-healing music that were not seen during preferred music. These results may depict top–down neural processes associated with active coping for pain. (shrink)

Experiments in animal models have shown that running increases neuronal activity in early visual areas in light as well as in darkness. This suggests that visual processing is influenced by locomotion independent of visual input. Combining mobile electroencephalography, motion- and eye-tracking, we investigated the influence of overground free walking on cortical alpha activity and eye movements in healthy humans. Alpha activity has been considered a valuable marker of inhibition of sensory processing and shown to negatively correlate with neuronal firing rates. (...) We found that walking led to a decrease in alpha activity over occipital cortex compared to standing. This decrease was present during walking in darkness as well as during light. Importantly, eye movements could not explain the change in alpha activity. Nevertheless, we found that walking and eye related movements were linked. While the blink rate increased with increasing walking speed independent of light or darkness, saccade rate was only significantly linked to walking speed in the light. Pupil size, on the other hand, was larger during darkness than during light, but only showed a modulation by walking in darkness. Analyzing the effect of walking with respect to the stride cycle, we further found that blinks and saccades preferentially occurred during the double support phase of walking. Alpha power, as shown previously, was lower during the swing phase than during the double support phase. We however could exclude the possibility that the alpha modulation was introduced by a walking movement induced change in electrode impedance. Overall, our work indicates that the human visual system is influenced by the current locomotion state of the body. This influence affects eye movement pattern as well as neuronal activity in sensory areas and might form part of an implicit strategy to optimally extract sensory information during locomotion. (shrink)

L’intentionnalité est un phénomène essentiellement mental, essentiellement événementiel et essentiellement expérienciel . Toute tentative de caractérisation de l’intentionnalité qui la sépare de l’expérience consciente est confrontée à deux problèmes insurmontables. D’abord elle est obligée de reconnaître que presque tout – y compris même les particules subatomiques – est doté d’intentionnalité. En conséquence de quoi, tout ce qui est doté d’intentionnalité en est beaucoup trop – peut-être infiniment. La clé d’une théorie de l’intentionnalité satisfaisante et vraiment naturiste est une conception réaliste (...) du naturalisme et une compréhension correctement développée du phénomène de l’expérience cognitive. (shrink)