On the extended mind hypothesis (EM), many of our cognitive states and processes are hybrids, unevenly distributed across biological and nonbiological realms. In certain circumstances, things - artifacts, media, or technologies - can have a cognitive life, with histories often as idiosyncratic as those of the embodied brains with which they couple. The realm of the mental can spread across the physical, social, and cultural environments as well as bodies and brains. My independent aims in this chapter are: first, to (...) describe two compatible but distinct movements or "waves" within the EM literature, arguing for the priority of the second wave (and gesturing briefly toward a third); and, second, to defend and illustrate the interdisciplinary implications of EM as best understood, specifically for historical disciplines, by sketching two case studies. (shrink)

This chapter poses a challenge to the extended mind thesis that Andy Clark and David Chalmers propose for beliefs, upon which their thesis is largely based. Clark and Chalmers present two related theses in their exposition of the extended mind. First they present “active externalism,” which states that a cognitive system is achieved when humans are appropriately linked with external entities; second, they present “the extended mind thesis,” which states that some, if not all, of a subject’s mental phenomena are (...) constituted partly by features of that subject’s environment. The second view is the focus of this chapter, as it is the reasoning behind the notion that beliefs can be constituted partly by features of the environment, and that the mind therefore extends into the world. Arguments in this chapter are confined to beliefs and do not include other mental phenomena. (shrink)

I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...) character. I argue that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea. (shrink)

In previous publications I have argued that much scientific activity should be thought of as involving the operation of distributed cognitive systems. Since these contributions to the cognitive study of science appear in venues not necessarily frequented by philosophers of science, I begin with a brief introduction to the notion of a distributed cognitive system. I then describe what I take to be an exemplary case of a scientific distributed cognitive system, the Hubble Space Telescope (HST). I do not here (...) reargue the case for conceiving of systems like the HST as distributed cognitive systems. Rather, I examine a question that arises once one has adopted the perspective of distributed cognitive systems, namely, the role of agency in a distributed cognitive system. Here I argue, contrary to several advocates of distributed cognitive systems, that we should regard the human components of distributed cognitive systems as the only sources of agency within such systems. In particular, we should not extend notions of agency to such systems as a whole. (shrink)

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

Where does the mind stop and the rest of the world begin? The question invites two standard replies. Some accept the demarcations of skin and skull, and say that what is outside the body is outside the mind. Others are impressed by arguments suggesting that the meaning of our words "just ain't in the head", and hold that this externalism about meaning carries over into an externalism about mind. We propose to pursue a third position. We advocate a very different (...) sort of externalism: an _active externalism_, based on the active role of the environment in driving cognitive processes. (shrink)

Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in the (...) cognitive sciences that has received little attention from philosophers, though it has relatively recently been thrown into the externalist spotlight (Cochrane 2008, Kruger 2014, Kersten forthcoming). Given that individualism can be thought of as a kind of paradigm for research on cognition, we provide a brief overview of the field of music cognition and individualistic tendencies within the field (sections 2 and 3) before turning to consider externalist alternatives to individualistic paradigms (section 4-5) and then arguing for a qualified form of externalism about music cognition (section 6). (shrink)

Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between the auditory (...) system and the musical invariants can be characterized as an extended computational cognitive system. In articulating this view, the work of J. J. Gibson (1966, 1986) and Robert Wilson (1994, 1995, 2004) is drawn on. The view is defended from several objections and its implications outlined. The paper concludes with a comparison to Krueger’s (2014) view of the “musically extended emotional mind”. (shrink)