Epistemic affordances in gestalt perception as well as in emotional facial expressions and gestures

Summary Methodological problems often arise when a special case is confused with the general principle. So you will find affordances only for ‚artifacts’ if you restrict the analysis to ‚artifacts’. The general principle, however, is an ‚invitation character’, which triggers an action. Consequently, an action-theoretical approach known as ‚pragmatic turn’ in cognitive science is recommended. According to this approach, the human being is not a passive-receptive being but actively produces those action effects that open up the world to us (through ‚active inferences’). This ‚ideomotor approach’ focuses on the so-called ‚epistemic actions’, which guide our perception as conscious and unconscious cognitions. Due to ‚embodied cognition’ the own body is assigned an indispensable role. The action theoretical approach of ‚enactive cognition’ enables that every form can be consistently processualized. Thus, each ‚Gestalt’ is understood as the process result of interlocking cognitions of ‚forward modelling’ (which produces anticipations and enables prognoses) and ‚inverse modelling’ (which makes hypotheses about genesis and causality). As can be shown, these cognitions are fed by previous experiences of real interaction, which later changes into a mental trial treatment, which is highly automated and can therefore take place unconsciously. It is now central that every object may have such affordances that call for instrumental or epistemic action. In the simplest case, it is the body and the facial expressions of our counterpart that can be understood as a question and provoke an answer/reaction. Thus, emotion is not only to be understood as expression/output according to the scheme ‚input-processing-output’, but acts itself as a provocative act/input. Consequently, artifacts are neither necessary nor sufficient conditions for affordances. Rather, they exist in all areas of cognition—from Enactive Cognition to Social Cognition.

Converging enactivisms: radical enactivism meets linguistic bodies

We advance a critical examination of two recent branches of the enactivist research program, namely, Radically Enactive Cognition and Linguistic Bodies. We argue that, although these approaches may look like diverging views within the wider enactivist program, when appraised in a conciliatory spirit, they can be interpreted as developing converging ideas. We examine how the notion of know-how figures in them to show an important point of convergence, namely, that the normativity of human cognitive capacities rests on shared know-how. Radical enactivism emphasizes the diachronic dimension of shared know-how, and linguistic bodies emphasize the synchronic one. Given that know-how is a normative notion, it is subject to success conditions. We then argue it implies basic content, which is the content of the successful ongoing interactions between agent(s) and environment. Basic content does not imply accuracy conditions and representational content, so it evades Hutto and Myin’s Hard Problem of Content. Moreover, this account is amenable to the central claim by Di Paolo et al. that the participatory sense-making relations at play in linguistic exchanges are explained in continuity with explanations of biological organization and sensorimotor engagements.

Introduction to the special issue “embodied cognition and education”

This special issue focuses on the theoretical, empirical and practical integrations between embodied cognition theory (EC) and educational science. The key question is: Can EC constitute a new theoretical framework for educational science and practice? The papers of the special issue support the efforts of those interested in the role of EC in education and in the epistemological convergence of EC and educational science. They deal with a variety of relevant topics in education and offer a focus on the role of the body and embodied experience in learning and educational settings. In conclusion, some further topics are suggested that will need to be investigated in the future, such as a critical evaluation of the possibility for an epistemological alliance between educational theory and embodied cognition, and the contribution that enactive cognition can provide to educational systems, organizations, institutions and policies.

Sound, silence, resonance, and embodiment: choreographic synaesthesia

This article explores the potential of a new conceptualisation of dance spectatorship informed by theories of embodied and enactive cognition. The approach adopted here incorporates the bodily experience and the intellectual processing of information that the dance spectator goes through. This perspective enables a discussion on the intersection of referential elements, spectator’s knowledge and background, and formal properties of the work into the experience that provide a holistic view of the work of dance and its effects through the concept of synaesthesia. Meaning moves, sounds feel, images taste and smell. In order to build this understanding, this particular study makes use of an enquiry into experience and body-environment relationships to approach the multi-modal experience of watching dance. I explore the idea of cross-sensory embodied experience as the base for dance spectatorship. I propose that synaesthesia will be useful in modelling spectatorial experience of dance. Further to this, I contend that although maybe not fully consciously, it is possible that the creative agents—the choreographer-director in this case—already have an understanding of this potential. Through this they manipulate elements within their works until they experience something akin to cross-sensory engagement in themselves. This perspective hence also allows new forms of analysis and understandings of creative work in performance. Through this approach, the article discusses a combination of apparently separate elements and senses in performance, with focus on sound, silence, and resonance through the notion of synaesthesia. Discussion is illustrated and exemplified though analysis of choreographer Wayne McGregor’s Woolf Works (2015), which not only expresses ideas, emotions, and sensations through the medium of dance, but demonstrates an understanding of dance as cross-sensory potentiality, able not only to deal with deep thematic elements, but also remain viscerally engaging. Embodied cognition, then, is proposed as the best framework to discuss the spectatorial experience of such work.

Sketching enactive interactions

The continuous development of interactive technologies and the greater understanding of body importance in cognitive processes has driven HCI research, specifically on interaction design, to solve the user’s relationship with a multitude of beyond desktop devices. This has opened new challenges for having processes, methods and tools to achieve appropriate user experiences. Insofar as new devices and systems involve the body and social aspects of the human being, the consideration of paradigms, theories and support models that exceed the selection of navigation nodes and the appropriate visual organization of widgets and screens becomes more relevant. The interaction design must take care not only to get the product built properly but also to build the right product. This thesis is at the crossroads of three themes: the design of interactive systems that combine a foot in the digital and one in the physical, the theories of embodied and enactive cognition and the creative practices supported by sketching, in particular the processes of generation, evaluation and communication of interaction design ideas. This work includes contributions of different character. An in-depth study of the theories on embodied and enactive cognition, the design of interaction with digital devices and sketching as a basic tool of creative design is carried out. Based on this analysis of the existing literature and with a characterization of the enactive practice of enactive interactions based on ethnomethodological studies, a framework is proposed to conceptually organize this practice and a support tool for that activity conceived as a creative composition. The contributions are discussed, and possible lines of future work are considered.