This article is an investigation of parallel themes in Heinrich Hertz's philosophy science and Kant's theory of schemata, symbols and regulative ideas. It is argued that Hertz's "pictures" bears close similarities to Kantian "schemata", that is, they are rules linking concepts to intuitions and provide them with their meaning. Kant's distinction between symbols and schemata is discussed and related to Hertz's three pictures of mechanics. It is argued that Hertz considered his own picture of mechanics as symbolic in a different (...) way than the force and energy pictures. In the final part of the article it is described how Harald Høffding soon after the publication of Hertz's Principles of Mechanics developed a general theory of analogical reasoning, relying on the ideas of Hertz and Kant. (shrink)

This article is an investigation of parallel themes in Heinrich Hertz's philosophy science and Kant's theory of schemata, symbols and regulative ideas. It is argued that Hertz's "pictures" bears close similarities to Kantian "schemata", that is, they are rules linking concepts to intuitions and provide them with their meaning. Kant's distinction between symbols and schemata is discussed and related to Hertz's three pictures of mechanics. It is argued that Hertz considered his own picture of mechanics (the "hidden mass" picture) as (...) symbolic in a different way than the force and energy pictures. In the final part of the article it is described how Harald Høffding soon after the publication of Hertz's Principles of Mechanics developed a general theory of analogical reasoning, relying on the ideas of Hertz and Kant. (shrink)

It is this paper’s aim to shed some light on the debate about the cultural debt of Niels Bohr towards his mentor and teacher of philosophy, Harald Høffding. The debate began at the end of seventies between two Danish scholars, Jan Faye and David Favrholdt, and in a broader sense it stands for way to show how philosophical influences may shape the scientist’s outlook on the world and consequently the approach to his field of studies. In my view, Edgar (...) Rubin, the famous psychologist and Bohr’s friend, is the key person to reconsider the Bohr-Høffding’s relationship. I shall adopt Gerald Holton’s thematic analysis for enucleating the possible thematic concept that supports the claim of a common line of thought emerging from Høffding, Rubin and Bohr’s conceptions with respect to their own field of study. Such a line of thought, i.e. the concept of unity, moulded Bohr’s view on the world and exerted its heuristic power in the formulation of the first atomic theory. (shrink)

The book gives an painstaking analysis of Niels Bohr's understanding of quantum mechanics based on a claim that Bohr was influenced by Harald Høffding's approach to philosophical problems.

This book presents a detailed analysis of what it means to be absorbed in playing music. Based on interviews with one of the world’s leading classical ensembles, “The Danish String Quartet”, it debunks the myth that experts cannot reflect while performing, but also shows that intense absorption is not something that can be achieved through will, intention, prediction or planning – it remains something individuals have to be receptive to. Based in the phenomenological tradition of Husserl and Merleau-Ponty as well (...) as of Dan Zahavi and Shaun Gallagher, it lays out the conditions and essential structures of musical absorption. Employing the lived experience of the DSQ members, it also engages and challenges core ideas in phenomenology, philosophy of mind, enactivism, expertise studies, musical psychology, flow theory, aesthetics, dream and sleep studies, psychopathology and social ontology, and proposes a method that integrates phenomenology and cognitive science. (shrink)

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”. (shrink)

In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired interviews (...) with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself as coupled with the world. Understanding music-making as a pre-eminent case of exploration helps us explicate and appreciate the developmental, sensorimotor, and more advanced cognitive resources that exist in music-making activities. (shrink)

The paper defends the position that phenomenological interviews can provide a rich source of knowledge and that they are in no principled way less reliable or less valid than quantitative or experimental methods in general. It responds to several skeptic objections such as those raised against introspection, those targeting the unreliability of episodic memory, and those claiming that interviews cannot address the psychological, cognitive and biological correlates of experience. It argues that the skeptic must either heed the methodological and epistemological (...) justification of the phenomenological interview provided, or embrace a more fundamental skepticism, a “deep mistrust”, in which scientific discourse can have no recourse to conscious processes as explananda, with ensuing dire consequences for our conception of science. (shrink)

It has been hypothesized that postperformance memory gaps occur in highly skilled individuals because experts generally perform their skills without conscious attention. In contrast, we hypothesize that such memory gaps may occur when performers focus so intently on their unfolding actions that their ongoing attention interferes with long-term memory formation of what was previously attended to, or when performers are highly focused on aspects of their bodily skills that are not readily put into words. In neither case, we argue, does (...) performance proceed automatically yet both situations, we suggest, may lead to an inability to recollect performance. (shrink)

The paper presents two empirical cases of expert musicians—a classical string quartet and a solo, free improvisation saxophonist—to analyze the explanatory power and reach of theories in the field of expertise studies and joint action. We argue that neither the positions stressing top-down capacities of prediction, planning or perspective-taking, nor those emphasizing bottom-up embodied processes of entrainment, motor-responses and emotional sharing can do justice to the empirical material. We then turn to hybrid theories in the expertise debate and interactionist accounts (...) of cognition. Attempting to strengthen and extend them, we offer ‘Arch’: an overarching conception of musical interaction as an externalized, cognitive scaffold that encompasses high and low-level cognition, internal and external processes, as well as the shared normative space including the musical materials in which the musicians perform. In other words, ‘Arch’ proposes interaction as a multivariate multimodal overarching scaffold necessary to explain not only cases of joint performance, but equally of solo improvisation. (shrink)

Based on a qualitative study about expert musicianship, this paper distinguishes three ways of interacting by putting them in relation to the sense of agency. Following Pacherie, it highlights that the phenomenology of shared agency undergoes a drastic transformation when musicians establish a sense of we-agency. In particular, the musicians conceive of the performance as one single action towards which they experience an epistemic privileged access. The implications of these results for a theory of collective intentionality are discussed by addressing (...) two general questions: When several individuals share an intention, does this fact secure plural self-knowledge? And is it possible to have non-observational knowledge about a collective action? It is claimed that the results drawn from the study about expert musicianship supports negative answers to both questions. (shrink)

This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms (...) of intentionality: one overt aspect of perceptual intentionality directed at the work, and a covert affective intentionality directed back at oneself in one’s situated existence. These are operational simultaneously but can work in loops, one leading to an intensification of the other and vice versa. As such, these analyses emphasize the value of phenomenological interviews and advance the integration of phenomenological and pragmatist thinking in the context of aesthetic experience. (shrink)

This volume brings together philosophical and interdisciplinary perspectives on improvisation. The contributions connect the theoretical dimensions of improvisation with different viewpoints on its practice in the arts and the classroom. The chapters address the phenomenon of improvisation in two related ways. On the one hand, they attend to the lived practices of improvisation both within and without the arts in order to explain the phenomenon. They also extend the scope of improvisational practices to include the role of improvisation in habit (...) and in planned action, at both individual and collective levels. Drawing on recent work done in the philosophy of mind, they also address questions such as whether improvisation is a single unified phenomenon, or whether it entails different senses that can be discerned theoretically and practically. Finally, they ask after the special kind of improvisational expertise which characterizes musicians, dancers, and other practitioners, an expertise marked by the artist's ability to participate competently in complex situations while deliberately relinquishing control. Philosophy of Improvisation will appeal to researchers working in philosophy, aesthetics, and pedagogy and the arts as well as practitioners involved in different kinds of music, dance, and theater performances. (shrink)

Based on a qualitative study about expert musicianship, this paper distinguishes three ways of interacting by putting them in relation to the sense of agency. Following Pacherie, it highlights that the phenomenology of shared agency undergoes a drastic transformation when musicians establish a sense of we-agency. In particular, the musicians conceive of the performance as one single action towards which they experience an epistemic privileged access. The implications of these results for a theory of collective intentionality are discussed by addressing (...) two general questions: When several individuals share an intention, does this fact secure plural self-knowledge? And is it possible to have non-observational knowledge about a collective action? It is claimed that the results drawn from the study about expert musicianship supports negative answers to both questions. (shrink)

In this article, we inquire into Maxine Sheets-Johnstone and Michele Merritt’s descriptions and use of dance improvisation as it relates to “thinking in movement.” We agree with them scholars that improvisational practices present interesting cases for investigating how movement, thinking, and agency intertwine. However, we also find that their descriptions of improvisation overemphasize the dimension of spontaneity as an intuitive “letting happen” of movements. To recalibrate their descriptions of improvisational practices, we couple Ezequiel Di Paolo, Thomas Buhrmann, and Xabier E. (...) Barandiaran’s enactive account of the constitution of agency with case studies of two expert performers of improvisation: a dancer and a musician. Our analyses hereof show that their improvisations unfold as a sophisticated oscillation of agency between specialized forms of mental and bodily control and, indeed, a more spontaneous “letting things happen.” In all, this article’s conclusions frame thinking in movement concerning improvisational practices as contextually embedded, purposively trained, and inherently relational. (shrink)

ABSTRACTThis paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some (...) of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible. (shrink)

Simon Høffding’s book A Phenomenology of Musical Absorption (2019) contributes to a growing field of research focusing on the artist’s and performer’s experience, as significant for philosophical understanding of on the one hand expertise and skill-formation, on the other art and artistic practice. Høffding’s work is based on a qualitative study of the world-famous ensemble The Danish String Quartet, and has two purposes according to the author: first, to answer a question that arises when confronted with expert musicians’ descriptions of (...) their experiences: “Who is playing?” While deeply concentrated – absorbed – during rehearsal or performance, musicians have described the feeling of something else taking over: the body, the fingers, the instrument, the music. What kind of self is present in this experience and what kind of consciousness does the musician have of her own performance and of the musical work that is performed? Second, Høffding presents a phenomenological account of the experiences at issue, that is based on thorough empirical work and analysed with tools from phenomenology and cognitive science. While not mainly concerned with philosophical aesthetics, the musical work itself has an important role to play in answering these two questions. In the book, Høffding shows with wonderful clarity the value of listening to and analysing performers’ depiction of their experience, not only in order to provide a theoretical framework that can account for the particular experiences associated with expertise but also to prompt philosophical understanding of artistic/aesthetic experience, art and creativity. There are, however, certain problems with his account. One is the internal conflict between the idea that absorption can be experienced at any level of music making, and the claim that only professional experts can experience absorption in its stronger form, without giving a clear argument for this differentiation. Another is Høffding’s desire to present his work as a “paradigmatic case”, resulting in a certain lack of generosity vis-à-vis precursors and other scholars, and interpretations that are not always backed up by the interview material. In general, there are a number of unclear references and loose ends, that this reader would have wished to be worked out in detail. This being said, Høffding has uncovered a thought-provoking path that I hope will be continued. (shrink)

I ask exactly how “open” we should be in “opening up cognitive science” and how many scientists should embrace the radical openness Martiny advocates. I suggest that the most fruitful realization of Martiny’s vision would consist in the creation of research groups with a balance between scholars of singular disciplines and transdisciplinary cognitive scientists.

Niels Bohr and Philosophy of Physics: Twenty-First Century Perspectives examines the work, influences and legacy of the Nobel Prize physicist and philosopher of experiment Niels Bohr. While covering Bohr's groundbreaking contribution to quantum mechanics, this collection reveals the philosophers who influenced his work. Linking him to the pragmatist C.I. Lewis and the Danish philosopher Harald Høffding, it draws strong similarities between Bohr's philosophy and the Kantian way of thinking. Addressing the importance of Bohr's views of classical concepts, it discusses (...) how his interpretation of quantum mechanics now compares with a variety of issues that have arisen only since his lifetime, including decoherence and other non-collapse arguments. Balancing historical themes with contemporary ideas, Niels Bohrs and Philosophy of Physics reveals Bohr's on-going contribution to the philosophy of science and confirms his place in the history of philosophy. (shrink)

A book review of Susanne Ravn, Simon Høffding, and James McGuirk, eds., _Philosophy of Improvisation: Interdisciplinary Perspectives on Theory and Practice_. London: Routledge, 2021, vii + 218 pp. ISBN 9780367540210.

Between the two World Wars, Jørgen Jørgensen was a central figure in Danish philosophy and internationally recognized, as his teacher Harald Høffding had been before World War 1. When in the late 1920s Jørgensen established contact with the movement that would later be called logical positivism, he found a group of philosophers of his own age who advocated empiricism, the tools of formal logic and the Unity of Science, and who shared his anti-metaphysical approach to philosophy. He became one (...) of the movement’s organizers and wrote its history, but he was only for a short period influenced by especially Rudolf Carnap’s philosophy of logic. Although Jørgensen was never an uncritical member of the movement, he is often considered as a central representative of logical positivism in Scandinavia. (shrink)

Despite a long history of researchers who combine phenomenology with qualitative or quantitative methods, there are only few examples of working with a phenomenological mixed method—a method where phenomenology informs both qualitative and quantitative data generation, analysis, and interpretation. Researchers have argued that in working with a phenomenological mixed method, there should be mutual constraint and enlightenment between the qualitative and quantitative methods for studying consciousness. In this article, we discuss what a framework for phenomenological mixed methods could look like (...) and we aim to provide guidance of how to work within such framework. We are inspired by resources coming from research in mixed methods and existing examples of phenomenological mixed-method research. We also present three cases of phenomenological mixed methods where we study complex social phenomena and discuss the process of how we conducted the studies. From both the research inspiration and our own studies, we depict the landscape of possibilities available for those interested in mixing phenomenology with qualitative and quantitative methods, as well as the challenges and common pitfalls that researchers face. To navigate in this landscape, we develop a three-fold structure, focusing on the phenomenological frame, the phenomenologically informed generation of qualitative and quantitative data, and the phenomenologically informed analysis and interpretation of data. (shrink)

Brief discussion of Niels Bohr's place in the history of philosophy (including his philosophical forebears, Søren Kierkegaard, Rasmus Nielsen, and Harald Høffding).

The theory stating that oxidative stress is at the root of several diseases is extremely popular. However, so far, no antioxidant is recommended or offered by healthcare systems neither approved as therapy by regulatory agencies that base their decisions on evidence-based medicine. This is simply because, so far, despite many preclinical and clinical studies indicating a beneficial effect of antioxidants in many disease conditions, randomised clinical trials have failed to provide the evidence of efficacy required for drug approval. In this (...) review, we discuss the levels of evidence required to claim causality in preclinical research on OS, the weakness of the oversimplification associated with OS theory of disease and the importance of the narrative in its popularity. Finally, from a more translational perspective, we discuss the reasons why antioxidants acting by scavenging reactive oxygen species might not only prevent their detrimental effects but also interfere with essential signalling roles. We propose that ROS have a complex metabolism and are generated by different enzymes at diverse sites and with different timing. Aggregating this plurality of systems in a single theory of disease may not be the best way to develop new drugs, and future research may need to focus on specific oxygen-toxifying pathways rather than on non-specific ROS scavengers. Finally, similarly to what is nowadays required for clinical trials, we recommend making unpublished data available in repositories, as this will allow big data approaches or meta-analyses without the blinders of the publication bias. (shrink)

An explorative contribution to the ongoing discussion of thought experiments. While endorsing the majority view that skepticism about thought experiments is not well justified, in what follows we attempt to show that there is a kind of “bodiliness” missing from current accounts of thought experiments. That is, we suggest a phenomenological addition to the literature. First, we contextualize our claim that the importance of the body in thought experiments has been widely underestimated. Then we discuss David Gooding's work, which contains (...) the only explicit recognition of the importance of the body to understanding thought experiments. Finally, we introduce a phenomenological perspective of the body, which will give us the opportunity to sketch the power and promise of a phenomenological approach to thought experiments. (shrink)