The Medieval (Music) Book: A Multimodal Cognitive Artefact

This chapter considers the medieval book as an example of embedded creative cognition. Through a detailed case-study analysis of a single opening from the interpolated Livre de Fauvel, the chapter shows how the modern-day reader takes an active part in the cognitive ecology that produced the book. The argument draws on theories of distributed cognition, multimodality, book history, and the writings of Augustine of Hippo to demonstrate the close connections between the mind, the body, and the book that are both still in action and under transformation today.

Distributed Cognition in Medieval and Renaissance Studies

The purpose of this chapter is to provide a background to current research in medieval and Renaissance studies on topics related to distributed cognition and to consider how the various chapters in this volume represent, reflect and advance work in this area. The volume brings together 14 chapters by international specialists working in the period between the ninth and the seventeenth century in the fields of law, history, drama, literature, art, music, philosophy, science and medicine. The chapters revitalise our reading of medieval and Renaissance works by bringing to bear recent insights in cognitive science and philosophy of mind on the distributed nature of cognition. Together the chapters make evident the ways in which particular notions and practices of distributed cognition emerged from the particular range of sociocultural and technological contexts that existed during this period. This chapter attempts to put these contributions in their wider research context by examining how such topics have been approached by mainstream scholarship, earlier work in the cognitive sciences and by existing applications of distributed cognition theory. It draws out both more general features of distributed cognition and what was distinctive about medieval and Renaissance insights into (and superstitions about) the cognitive roles of the body and environment. Throughout this chapter, I reference the chapters in this volume that provide further information on topics covered or take forward the issues in question. In the concluding section, I turn to a fuller overview of the chapters themselves

Enculturated, Embodied, Social: Medieval Drama and Cognitive Integration

Highlighting the embodied, collaborative, and spatially and temporally divers nature of medieval English plays, this essay argues that the cognitive work of medieval drama is best understood through the theory of cognitive integration, and in particular niche construction. Using the famous fifteenth-century York Play of the Crucifixion as a case study, the essay illustrates how this pageant constructed its particular niche, and its reliance on social as well as spatial and material affordances. The Play of the Crucifixion, it is argued, created opportunities for highly personal, individual devotional responses in the midst of what was fundamentally, and necessarily, a social and collaborative act. What is more, as a niche created for the purpose of devotion, it was focused on stimulating emotion and feeling, rather than supporting rational problem solving. It also overlapped with, and perhaps influenced, other devotional niches active beyond the frame of performance, contributing to extensive feedback cycles to which it was also subject.

Masked Interaction: The Case for an Enactive View of Commedia dell’Arte (and the Italian Renaissance)

This chapter presents a case study for the use of enactivist phenomenology as a paradigm for Cultural Analysis and Renaissance Studies. It begins by describing a mask used in commedia dell’arte, first as a simple object and then as embedded in an acting praxis. The focus then turns to Renaissance cultures of the performing arts, fiction, and the constitution of subjectivity. Finally, the chapter considers what the mask has to say about sixteenth-century Italy, comparing the outcomes of this analysis with those of more conventional approaches, which are mostly focused on Renaissance humanism. The line of argumentation follows a bottom-up methodology based on enactivist assumptions. By the end the chapter will render the adopted approach theoretically explicit and offer closing remarks about the use of enactivist phenomenology for cultural analysis, by comparing it with neighbouring theories and methods in Cultural Studies (especially Praxeology, Actor-Network-Theory, studies on Material Cultures, and Performance Studies).

The Mead of Poetry: Old Norse Poetry as a Mind-Altering Substance

This chapter examines the Old Norse myth of the mead of poetry in light of the distributed cognition hypothesis. It explains how Norse skaldic poetry scaffolds various cognitive processes, and then argues that the myth of the poetic mead, which sees poetry as an alcoholic substance, is exploited by Old Norse poets to understand and describe poetry’s effect on the mind. Examples are given that suggest poets saw poetry as ‘mind altering’ in ways that resonate with certain aspects of the distributed cognition hypothesis: in particular, that poetry is cognition-enabling through feedback-loop processes; that the mind can be extended into the world and over time in poetry; that cognition can be shared and/or furthered by engaging with other minds; that the body plays a non-trivial role; and that poetry performs mental and affective work in the world.

Ben Jonson and the Limits of Distributed Cognition

Ben Jonson’s Bartholomew Fair (1614) and The Alchemist (1610) depict characters attempting to establish and redefine themselves within and against the marketplace. In this chapter the network of goods for sale, and especially the street-sellers’ cries which were so characteristic of London life, and which are recorded in songs from the period, are seen as a cognitive ecology in which dramatic versions of distributed selfhood take particular shapes. Jonson’s plays anticipate and also comment on notions of extended, economic, and ‘soft’ selfhood like those explored by Andy Clark, Don Ross, and others.

Horse-Riding Storytellers and Distributed Cognition in Chaucer’s Canterbury Tales

The taming of horses changed humans’ relation to space, movement, and speed. It increased their social agency and environmental impact. In fourteenth-century England, Geoffrey Chaucer writes about the storytelling contest of a group of men and women travelling together on horseback to Canterbury. Bringing an enactive practice of language together with the dynamic of horse-riding, TheCanterbury Tales characterizes its storytelling pilgrims by the way they ride their horses and speak to each other. The pilgrims’ kinesis, narrative skills and cognitive styles are linked to a use of artefacts (e.g., clothing, weapons, stirrups) which defines them as characters. Chaucer conveys such distributed information by working with language in a way that successfully induces readers’ cognitive engagement, and triggers perceptual-motor simulations of situated actions in meaningful ways.

‘Le Sigh’: Enactive and Psychoanalytic Insights into Medieval and Renaissance Paralanguage

Sighing is both performative and vital activity, and exemplifies the role of ‘primordial affectivity’ in the organism’s co-creativity with its environment. Emerging from the organism’s ‘cares’, transforming the atmosphere and the affect that initiated it, the sigh is a striking instance of distributed cognition, an action reaching through ancient respiratory processes to the most deliberate forms of self-care. Premodern psychology understood the sigh as an attempt to free the circulation of vital and animal spirits from blockage caused by the overheating of imaginative and estimative faculties when obsessed by the image of a loved object. Contemporary science similarly sees the chief physiological action of the sigh, the opening of air spaces in the lungs, as dynamically engaged with affective experience. In the domain of psychoanalysis, the sigh is a transitional phenomena; it buys time and gives us the time to open up to something new. The sigh relaxes constriction, opening the throat and enabling speech. Hence its vital importance in amorous verse. ‘Le Sigh’ proposes that sighing is the template for the concluding couplet of Shakespeare’s sonnet form. Its innovation is to give us the breathing room to bear our care-full lives.

Thinking with the Hand: The Practice of Drawing in Renaissance Italy

Drawing occupies a central place in the European artistic tradition, especially exploratory drawing, of the sort that modern artists might call sketches or studies. This chapter argues that the rise of this mode of drawing in Renaissance Italy represented more than a shift in artistic or workshop practice. It also marked a metamorphosis in the relationship between cognition and the act of drawing itself. Drawing, for Italian Renaissance artists, was both a way of thinking with the hand, and a way of thinking between hands.

Distributed Cognition and the Humanities

The general introduction, which is replicated across all four volumes, aims to orientate readers unfamiliar with this area of research. It provides an overview of the different approaches within the distributed cognition framework and discussion of the value of a distributed cognitive approach to the humanities. A distributed cognitive approach recognises that cognition is brain, body and world based. Distributed cognition is a methodological approach and a way of understanding the actual nature of cognition. The first section provides an overview of the various competing and sometimes conflicting theories that make up the distributed cognition framework and which are also collectively known as 4E cognition: embodied, embedded, extended and enactive cognition. The second section examines the ways in which humanities topics and methodologies are compatible with, placed in question or revitalised by new insights from philosophy of mind and the cognitive sciences on the distributed nature of cognition, and considers what the arts and humanities, in turn, offer to philosophy and cognitive science.