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)

This paper pursues two main aims. First, it distinguishes two kinds of improvisation: expert and inexpert. Expert improvisation is a (usually artistic) practice that the agent consciously sets as their goal and is evaluated according to (usually artistic) standards of improvisation. Inexpert improvisation, by contrast, supports and structures the agent’s action as it moves them towards their (usually everyday life) goals and is evaluated on its success leading the agent to the achievement of those (...) goals. The second aim is to describe inexpert improvisation as a robustly distributed affair, one that involves the ongoing integration of embodied practices with social and material resources within our surrounding environments. On the wide approach to improvisation fostered in this paper, inexpert improvisation is claimed to be our default way of inhabiting our world. (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)

Improvisation is ubiquitous in life. It deserves, we suggest, to occupy a more central role in cognitive science. In the current paper, we take the case of jazz improvisation as a rich model domain from which to explore the nature of improvisation and expertise more generally. We explore the activity of the jazz improviser against the theoretical backdrop of Dreyfus’s account of expertise as well as of enactivist and 4E accounts of cognition and action. We argue that (...) enactivist and 4E accounts provide a rich source of insights on improvisation that go beyond Dreyfus’s notion of skilled coping, for example, through the central enactivist notion of “sense-making”. At the same time, however, we see improvisation also as suggesting an extension of enactivist theory. We see expert improvisers, in music and in life, as walking on a path of open-ended expansion of their mindful experiential relation with their doing. At the heart of an improviser’s expertise, we propose, lies a form of “higher-level inner sense-making” that spontaneously creates novel forms of agentive goal-directedness in the moment. Our account thus supplants Dreyfus’s idea of the ego-less absorbed expert by that of a mindful improviser enacting spontaneous expressions of herself, in music or in life. (shrink)

Joint actions typically involve a sense of togetherness that has a distinctive phenomenological component. While it has been hypothesized that group size, hierarchical structure, division of labour, and expertise impact agents’ phenomenology during joint actions, the studies conducted so far have mostly involved dyads performing simple actions. We explore in this study the complex case of collectively improvised musical performances, focusing particularly on the way group size and interactional patterns modulate the phenomenology of joint action. We recorded two expert (...) improvisation ensembles of contrasting sizes (16 vs 4 musicians) and collected data about their musical behaviour, as well as reports about five aspects of their phenomenology (sense of agency, agentive identity, integration, dependence, reflexivity) and about their musical intentions. Our overall data enabled us to assess how those five phenomenological dimensions related to one another during jointly improvised performances. They also show how such phenomenology varied with the way improvisers dynamically related to one another throughout the performance. Finally, we observe that group size strongly altered the phenomenology of improvisers who otherwise shared many characteristics (high expertise, similar aesthetic preferences, etc.). Our study thus sheds light on the interactional and structural parameters that shape and modulate our felt experience when acting together, and thereby highlights the importance of pluralism for studying the phenomenology of joint action. (shrink)

A recently emerging view in music cognition holds that music is not only social and participatory in its production, but also in its perception, i.e. that music is in fact perceived as the sonic trace of social rela- tions between a group of real or virtual agents. While this view appears compatible with a number of intriguing music cognitive phenomena, such as the links between beat entrainment and prosocial behaviour or between strong musical emotions and empathy, direct evidence is lacking (...) that listeners are at all able to use the acoustic features of a musical interaction to infer the affiliatory or controlling nature of an underlying social intention. We created a novel experimental situation in which we asked expert music improvisers to communicate 5 types of non-musical social intentions, such as being domineering, dis- dainful or conciliatory, to one another solely using musical interaction. Using a combination of decoding studies, computational and psychoacoustical analyses, we show that both musically-trained and non musically-trained listeners can recognize relational intentions encoded in music, and that this social cognitive ability relies, to a sizeable extent, on the information processing of acoustic cues of temporal and harmonic coordination that are not present in any one of the musicians’ channels, but emerge from the dynamics of their interaction. By manipulating these cues in two-channel audio recordings and testing their impact on the social judgements of non-musician observers, we finally establish a causal relationship between the affiliation dimension of social behaviour and musical harmonic coordination on the one hand, and between the control dimension and musical temporal coordination on the other hand. These results provide novel mechanistic insights not only into the social cognition of musical interactions, but also into that of non-verbal interactions as a whole. (shrink)

This paper presents a model for the implementation of educational activities involving musical improvisation that is based on a review of the literature on the psychology of music. Psychology of music is a complex field of research in which quantitative and qualitative methods have been employed involving participants ranging from novices to expert performers. The cognitive research has been analyzed to propose a pedagogical approach to the development of processes rather than products that focus on an expert’s (...) use of improvisation. The intention is to delineate a reflective approach that goes beyond the mere instruction of some current practices of teaching improvisation in jazz pedagogy. The review highlights that improvisation is a complex, multidimensional act that involves creative and performance behaviors in real-time in addition to processes such as sensory and perceptual encoding, motor control, performance monitoring, and memory storage and recall. Educational applications for the following processes are outlined: anticipation, use of repertoire, emotive communication, feedback, and flow. These characteristics are discussed in relation to the design of a pedagogical approach to musical improvisation based on reflection and metacognition development. (shrink)

Hubert Dreyfus argues that explicit thought disrupts smooth coping at both the level of everyday tasks and of highly-refined skills. However, Barbara Montero criticises Dreyfus for extending what she calls the ‘principle of automaticity’ from our everyday actions to those of trained experts. In this paper, I defend Dreyfus’ account while refining his phenomenology. I examine the phenomenology of what I call ‘esoteric’ expertise to argue that the explicit thought Montero invokes belongs rather to ‘gaps’ between or above moments of (...) reflexive coping. However, I agree that the ‘principle of automaticity’ does not adequately capture the experience of performing such skills. Drawing on examples of expert performance in sport and improvised music and dance, I argue that esoteric action, at its best, is marked by a distinct state of non-conceptual awareness- an experience of spontaneity, flow and ‘owned-ness’- that distinguishes it from the automaticity of everyday actions. (shrink)

In contemporary dance, experts evaluate creativity in competitions, auditions, and performances, typically through ratings of choreography or improvisation. Audiences also implicitly evaluate choreographic creativity, so dancers’ livelihoods also hinge upon the opinions of non-expert observers. However, some argue that the abstract and often pedestrian nature of contemporary dance confuses non-expert audiences. Therefore, agreement regarding creativity and appreciation amongst experts and non-experts may be low. Finding appropriate methodologies for reliable and real-world creativity evaluation remains the subject of considerable (...) debate within the psychology creativity research field. Although considerably variant in methodological operationalisation, the Consensual Assessment Technique (CAT) asks individuals to use an implicit definition to assess creativity in others’ work. This study aimed to investigate the role of experience and expertise in the evaluation of choreographic creativity, with a secondary aim of testing the feasibility of an online snowballing methodology for large-scale dance-specific research, informed by the methodology of the CAT. We filmed 23 Contemporary Dance students each performing a 3-min peer-choreographed solo and then recruited 850 online evaluators with varying degrees of expertise and experience in dance and creativity. Evaluators viewed at least one randomly selected video and rated creativity, technical ability, appreciation and understanding of the work, each using a seven-point Likert scale. A one-way ANOVA showed a significant difference in creativity ratings across the 23 videos, and creativity correlated significantly with the other variables. We then categorized evaluators on nine aspects of their dance and creative experience and entered the data into a repeated-measures linear mixed model. Two of the fixed effects yielded differences in creativity evaluations: (i) contemporary choreographic experience and (ii) self-reported creative expertise, as did the random effect of the video. The results indicate that personal experience of the choreographic process impacts creativity assessment, above and beyond experience in dance class participation. Implications for creativity assessment within creativity research and practice are discussed. (shrink)

In this paper, I argue that modelling occupies a curious role in the art making process, and that it constitutes a hybrid art form. Modelling is intriguingly under-research in aesthetics, despite it being a cornerstone of art education and deeply involved in various art practices. It functions both within a supportive role to further the goals of art making, while also retaining the creative agency and performance of the professional model upon which the artist, photographer, or wider crew rely. This (...) ability entails not merely helping to steer a posing session, but experimenting with and adapting to any unexpected issues that arise in the course of the session. To understand the salient performative qualities of modelling, I first focus on expert movement, improvisation, and style. Second, I reflect on how modelling corresponds to creativity and skill. Finally, I propose that the model is a performer, and that, ultimately, modelling should be recognised as a hybrid collaborative art form which incorporates qualities of various performing arts. (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)

Judging the warrant of conspiracy theories can be difficult, and often we rely upon what the experts tell us when it comes to assessing whether particular conspiracy theories ought to be believed. However, whereas there are recognised experts in the sciences, I argue that only are is no such associated expertise when it comes to the things we call `conspiracy theories,' but that the conspiracy theorist has good reason to be suspicious of the role of expert endorsements when it (...) comes to conspiracy theories and their rivals. The kind of expertise, then, we might associate with conspiracy theories is largely improvised—in that it lacks institutional features—and, I argue, ideally the product of a community of inquiry. (shrink)

As one of the tools used to express feelings and thoughts, music has been utilised by people in many fields throughout history. Music is seen as a means of expressing religious feelings, being used as an educational tool, as a way for military bands to invoke heroic feelings in soldiers, and as way of expressing emotions in joyful and melancholic days. Music was especially born and shaped by rituals of religious origin. With the spread of the religion of Islam, music (...) became an issue that paved the way for many religious discussions. It should be clearly noted that while many verses in the Qur'an are cited as a source for these discussions, it is very difficult to deduce from these verses whether music is halal (permissible) or haram (prohibited). Additionally, many permissible matters in Islam become prohibited when used maliciously or out of their intended purpose, however, if everything that has a possibility of being used maliciously or outside of its intended purpose is considered haram, this will lead to a path of denying many blessings that Allah has bestowed upon people in this world. Restricting issues out of the possibility of their wrongful misuse and depriving others of this blessings cannot be just. Nevertheless, although the discussion of music as permissible or prohibited has largely existed within the religion of Islam, those involved with Tasawwuf (Islamic Mysticism), also known as Sufis, have generally perceived music as nutrient for the soul. Consequently, Sufis have incorporated music into their worship in order to invoke religious feelings over the centuries. Religious music is divided into two; the first is Mosque Recitations, and the second is Tekke music (also known as Tasawwuf Music). Mosque Recitation is that which is performed without instrumentals using only vocals and an improvised approach. On the other hand, Tekke music is performed with an instrument and a composed written piece. Within the Mosque Recitation is the Qur’an recitation, which when read in accordance with its rules has a natural phonetic style, meaning that when the Qur’an is recited according to the Maqam (Melodic modes of recitation) requirements, it evokes spiritual feelings to the listeners. Accordingly, there is a connection between the recitation of the Qur'an and the scientific understanding of music. When a connection between the Qur’an and disciplined recitation is established, this causes an artistic sensation to the listener, which experts in the field have name “Fem-i Muhsin”.Hafız (a title used for a person who has memorised the Qur’an in its entirety) Bekir Sıdkı Sezgin is one of the important musicians to have left his mark on Turkish music, where a discipline was formed after him. He has a very high status due to the value he gave to Turkish music as he became one of the leading names in Turkish music, especially considering the large yet unknown number of students that he personally trained. Hafız Bekir states in interviews that he especially owed his success in the science of music to the Qur'an education he received at a young age, and he emphasises that those who are on the way to becoming good musicians must receive a Qur'an education; additionally, because classical Turkish music lyrics are Arabic and Persian, he argues that the way to correctly pronounce these lyrics is to also know Ottoman Turkish to a high degree. Hafız Bekir was also able to recite the Qur'an to a degree of perfection and was proud of being a Hafız, where he believed that the Qur'an harmonised between his memory and excellent musical knowledge. Hafız Bekir recited the Qur’an according to the suitable Istanbul Maqam of reading, and by using the Maqam befitting the Qur’an recitation, Hafız Bekir was able to take the listeners on a spiritual journey.A survey of the works produced about Hafız Bekir shows that although there have been many theses, articles, and interviews published about him, there is no specific study on his Qur’an recitation according to the Istanbul Maqam style. In this study, Hafız Bekir’s dual identity as both a musician and Qur’an Hafız is underlined as a way to contribute to the field by revealing this side of Hafız Bekir, and also examining the Qur'an education that he recommends to his students. The recitation of verses 189-194 of the chapter Âli İmrân, which Hafız Bekir recited in the Istanbul Maqam style, is notated with the Mus notation system, and analysed according to the Maqam reading style. The notation is formed based on a sensory evaluation with assistance from experts in the field. This study, as a musical analysis, was produced to reveal the importance of this subject to interested parties. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Imagination in Inquiry by A. Pablo IannoneAmy KindIANNONE, A. Pablo. Imagination in Inquiry. Lanham, Md.: Lexington Books, 2022. xxvi + 254 pp. Cloth, $110.00; eBook $45.00Though imagination is often associated with the fanciful and the fictional, over the course of the last decade philosophers have begun to devote considerable attention to more practical uses of imagination. Philosophers of imagination have increasingly focused on ways in which imagination can (...) play an important epistemic role in activities such as decision-making, planning, and scientific discovery; more generally, there has been attention to a variety of ways in which imagination can teach us about the world in which we live. Iannone’s discussion in Imagination in Inquiry can be seen as part of this general trend—even if his discussion is not itself situated directly within contemporary philosophy of imagination but, rather, in a broader interdisciplinary approach.Iannone works with an expansive conception of what imagination is. In his view, we should not limit our understanding of imagination simply to the ability to generate images. Rather, imagination is a diverse set of different abilities that aim “at figuring out cognitively, emotively, or practically, alternatives for dealing with actual, probable, plausible, foreseeable, or merely possible challenges or problems, abstract or concrete, theoretical or practical being faced, or notions being considered, and determining or deciding which is (are) preferable in the circumstances, and acting accordingly.” Moreover, this set of abilities should not be seen as operating in isolation; rather, imagination functions as part of an ecology of human abilities. Iannone refers to his view of imagination as the “homeostatic model,” so called because he sees imaginative processes as maintaining stability by way of a system of self-correcting feedback and methods for incorporating and adjusting to any new information received.Iannone also operates with an expansive conception of what counts as practical use of imagination. In his view, imagination is put to practical use in a wide range of circumstances, for example, when a dancer imagines the next steps of a dance in the process of spontaneous improvising, when a combatant imagines how to block an expected blow from an opponent, and when an environmental activist imagines a new set of corrective policies to address pollution. All these uses fall under the activity of what Iannone calls “inquiry,” that is, the activity of finding a solution to a problem or challenge. The problems and challenges that might prompt the use of imagination can be both personal and interpersonal, and the imaginative processes used will involve strategies such as discovery, creation, and anticipation.In the first part of the book, Iannone develops his basic conceptual apparatus. In the next part of the book, he puts this apparatus to work in the context of philosophy, that is, he shows how imagination plays a role in philosophical inquiry. In the third part of the book, he looks at the role of imagination in other disciplines such as sociology and psychology. Here, the interdisciplinary nature of his discussion is especially on display. In the fourth part of the book, he applies his model of imagination to a number of different contexts; in particular, he discusses the role of [End Page 354] imagination in language, in humor, in vision (both at the personal and the societal level), and in morality. Finally, the last part of the book offers a variety of case studies involving dance, technology, and artificial intelligence. Of the four chapters in this part of the book, three are written by other authors: two by Alejandra Iannone, a scholar and practitioner of dance and theater (and the author’s daughter), and one by Rocci Luppicini, an expert in technology studies. In light of the explosive pace with which new AI technologies are being developed, the book’s discussion of whether and how such technologies present challenges for our capacity for imagination is especially timely and important.In addition to affirming the practical importance of imagination, Iannone also affirms the practical importance of nurturing imagination—something he repeats at several points throughout the book. But how do we do this? One natural way that imagination is nurtured is simply by its regular use... (shrink)

This article draws on ethnographic data from a field leading university licensing office to document and explain a key step in the process of institutionalization, the abstraction of standardized rules and procedures from idiosyncratic efforts to collectively resolve pressing problems. I present and analyze cases where solutions to complicated quandaries become abstract bits of professional knowledge and demonstrate that in some circumstances institutionalized practices can contribute to the flexibility of expert reasoning and decision-making. In this setting, expertise is rationalized (...) in response to institutional tensions between academic and business approaches to deal making and professional tensions between relational and legal approaches to negotiation. Abstraction and formalization contribute both to the convergence and stability of routines and to their improvisational use in professional work. Close attention to these processes in a strategic research setting sheds new light on an interesting tension in sociological theories of the professions while contributing to the development of a micro-level, social constructivist institutional theory. (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)

This chapter aims to deepen Donald Schön’s insight about jazz playing as an example of what he calls “reflection-in-action” (RiA) by situating this notion within the enactive view of humans as linguistic bodies. Our main claim is that the knowl-edge or skills displayed by expert jazz musicians must be understood as aural and communicative in nature. After presenting the notions of RiA and linguistic bodies, we develop our view through a critical discussion of four statements from Schön’s passage on (...) jazz musicianship, before wrapping up and clarifying the position we are advocating. This way, we suggest a revised version of Schön’s concept, which we call “reflection in communicative jazz action.". (shrink)

This book is largely a reconsideration of the arguments that are supposed to ground this consensus.

There is a large gap between the specialized knowledge of scientists and laypeople’s understanding of the sciences. The novice-expert problem arises when non-experts are confronted with (real or apparent) scientific disagreement, and when they don’t know whom to trust. Because they are not able to gauge the content of expert testimony, they rely on imperfect heuristics to evaluate the trustworthiness of scientists. This paper investigates why some bodies of scientific knowledge become polarized along political fault lines. Laypeople navigate (...) conflicting epistemic and social demands in their acceptance of scientific testimony; this might explain their deference to scientific fringe theories, which often goes together with denying established scientific theories. I evaluate three approaches to mitigate denialism: improving the message, improving the messenger, and improving the environment in which the message is conveyed. (shrink)

ABSTRACTThis report on end‐of‐life decision‐making in Canada was produced by an international expert panel and commissioned by the Royal Society of Canada. It consists of five chapters.Chapter 1 reviews what is known about end‐of‐life care and opinions about assisted dying in Canada.Chapter 2 reviews the legal status quo in Canada with regard to various forms of assisted death.Chapter 3 reviews ethical issues pertaining to assisted death. The analysis is grounded in core values central to Canada's constitutional order.Chapter 4 reviews (...) the experiences had in a number of jurisdictions that have decriminalized or recently reviewed assisted dying in some shape or form.Chapter 5 provides recommendations with regard to the provision of palliative care in Canada, as well as recommendations for reform with respect to the various forms of assisted death covered in this document. (shrink)

This article reflects on the author's modest experience as an expert witness in two trials: Osheroff vs. Greenspan (1983), and In the Matter of Baby K (1994). Bioethicists' expertise as scholar-teachers and consultants on particular issues merits qualification by judges as expert witnesses. The article argues that a different kind of expertise – strong moral advocacy – is required to be an effective expert witness. The major lessons of expert witnessing for the author concern the demands (...) and strains on the bioethicist's role as scholar, teacher, and consultant. The Baby K case is analyzed in some detail, due to its importance for bioethics, ethics consultation, and the testimony of bioethicists on either side of the case. Rules of thumb are offered to guide decisions as to choices regarding expert witnessing, as well as a discussion of the interaction of law and bioethics. (shrink)

The canonical history of mathematics suggests that the late 19th-century “arithmetization” of calculus marked a shift away from spatial-dynamic intuitions, grounding concepts in static, rigorous definitions. Instead, we argue that mathematicians, both historically and currently, rely on dynamic conceptualizations of mathematical concepts like continuity, limits, and functions. In this article, we present two studies of the role of dynamic conceptual systems in expert proof. The first is an analysis of co-speech gesture produced by mathematics graduate students while proving a (...) theorem, which reveals a reliance on dynamic conceptual resources. The second is a cognitive-historical case study of an incident in 19th-century mathematics that suggests a functional role for such dynamism in the reasoning of the renowned mathematician Augustin Cauchy. Taken together, these two studies indicate that essential concepts in calculus that have been defined entirely in abstract, static terms are nevertheless conceptualized dynamically, in both contemporary and historical practice. (shrink)

Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and (...) Helga Noice. For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach?a differently nuanced model of expert skill aligned with the integrative spirit of the Noices? research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

Background While most countries that allow abortion on women’s request also grant physicians a right to conscientious objection (CO), this has proven to constitute a potential barrier to abortion access. Conscientious objection is regarded as an understudied phenomenon the effects of which have not yet been examined in Germany. Based on expert interviews, this study aims to exemplarily reconstruct the processes of abortion in a mid-sized city in Germany, and to identify potential effects of conscientious objection. Methods Five semi-structured (...) interviews with experts from all instances involved have been conducted in April 2020. The experts gave an insight into the medical care structures with regard to abortion procedures, the application and manifestations of conscientious objection in medical practice, and its impact on the care of pregnant women. A content analysis of the transcribed interviews was performed. Results Both the procedural processes and the effects of conscientious objection are reported to differ significantly between early abortions performed before the 12th week of pregnancy and late abortions performed at the second and third trimester. Conscientious objection shows structural consequences as it is experienced to further reduce the number of possible providers, especially for early abortions. On the individual level of the doctor-patient relationship, the experts confirmed the neutrality and patient-orientation of the vast majority of doctors. Still, it is especially late abortions that seem to be vulnerable to barriers imposed by conscientious objection in individual medical encounters. Conclusion Our findings indicate that conscientious objection possibly imposes barriers to both early and late abortion provision and especially in the last procedural steps, which from an ethical point of view is especially problematic. To oblige hospitals to partake in abortion provision in Germany has the potential to prevent negative impacts of conscientious objection on women’s rights on an individual as well as on a structural level. (shrink)

The novice/expert problem is the problem of knowing which apparent expert to trust. Following Alvin Goldman’s lead, a number of philosophers have developed criteria that novices can use to distinguish more from less trustworthy experts. While the criteria the philosophers have identified are indeed useful in guiding expert choice, I argue, they can’t do the work that Goldman and his successors want from them: avoid a kind of testimonial scepticism. We can’t deploy them in the way needed (...) to avoid such scepticism, because it would take genuine expertise to do so. I argue that attempts to deploy them in this sort of deep way involve a kind of transgression akin to, and at least as unreliable as, epistemic trespassing. We should give up trying to solve the novice/expert problem and instead promote better epistemic trust. (shrink)

Shamatha, Transcendental, and Stillness Meditation are said to aim for “contentless” experiences, where mental content such as thoughts, perceptions, and mental images is absent. Silence is understood to be a central feature of those experiences. The main source of information about the experiences is texts by experts from within the three traditions. Previous research has tended not to use an explicit scientific method for selecting and reviewing expert texts on meditation. We have identified evidence synthesis as a robust and (...) transparent method that is suitable for this purpose. In this paper we use evidence synthesis based on expert texts to examine silence/quietness as a feature of the contentless experiences in the three practices. Objective criteria were used to select a sample of 135 expert texts. A database containing the expert descriptions of the meditation techniques and experiences was produced by extracting the relevant material from the publications and coding that material to differentiate individual features. The database, which forms part of the Supplementary Material for this paper, identifies each feature of the contentless experiences referred to in the expert texts, including silence/quietness. Our key finding is that the experts indicate silence/quietness has a particular connection with stillness, and the absence of concepts, mental activity/noise, thoughts, and disturbance. Further analysis leads to the following insights. The silence/quietness reflects the absence of thoughts and sounds, and this fits neatly with a conception of silence/quietness as the absence of internal and external noise. In some cases the terms silence and quietness may also reflect the absence of other disturbances such as non-auditory perceptions, mental images, and negative feelings. That would fit with a conception of silence/quietness as complete calm or absence of disturbance. It is not clear from the expert texts how silence/quietness is distinct from other features such as stillness that also reflect the absence of disturbances. As a separate matter, silence/quietness has connections with all the other features of the contentless experiences, but the closeness of the connections varies. Our work uncovers fine distinctions and ambiguities which lead to new research questions that can be explored in future studies. (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)

Dreyfus and Dreyfus’ influential phenomenological analysis of skill acquisition proposes that expert performance is guided by non-cognitive responses which are fast, effortless and apparently intuitive in nature. Although this model has been criticised for over-emphasising the role that intuition plays in facilitating skilled performance, it does recognise that on occasions a form of ‘detached deliberative rationality’ may be used by experts to improve their performance. However, Dreyfus and Dreyfus see no role for calculative problem solving or deliberation when performance (...) is going well. In the current paper, we draw on empirical evidence, insights from athletes, and phenomenological description to argue that ‘continuous improvement’ among experts is mediated by cognitive control in three distinct sporting situations. We conclude by arguing that Sutton et al. Journal of the British Society for Phenomenology, 42, 78–103 ‘applying intelligence to the reflexes’ approach may help to elucidate the process by which expert performers achieve continuous improvement through analytical/mindful behaviour during training and competition. (shrink)

Today’s everyone normal life can include a normal rate of playing computer games or video games; but what about an excessive or compulsive use of video games that impact on our life? Our kids, who usually spend a lot of time in playing video games will likely have a trouble in paying attention to their school lessons. In this paper, we introduce an expert system to help users in getting the correct diagnosis of the health problem of video game (...) addictions that range from (Musculoskeletal issues, Vision problems and Obesity). Moreover, this expert system provides information about the problem and tell us how we can solve it. SL5 Object expert system language was used to design and implement the expert system. (shrink)

The consensus among legal philosophers is probably that rule-based legal expert systems leave much to be desired as aids in legal decision-making. Why? What can we do about it? A bureaucrat administering some set of complex rules will ascertain the facts and apply the rules to them in order to discover their consequences for the case in hand. This process of deductive reasoning is characteristically bureaucratic.

In attempting to provide protection to individuals and communities, childhood immunization has benefits that far outweigh disease risks. However, some parents decide not to immunize their children with some or all vaccines for reasons including lack of trust in governments, health professionals, and vaccine manufacturers. This article employs a theoretical analysis of trust and distrust to explore how twenty-seven parents with a history of vaccine rejection in two Australian cities view the expert systems central to vaccination policy and practice. (...) Our data show how perceptions of the profit motive generate distrust in the expert systems pertaining to vaccination. Our participants perceived that pharmaceutical companies had a pernicious influence over the systems driving vaccination: research, health professionals, and government. Accordingly, they saw vaccine recommendations in conflict with the interests of their child and “the system” underscored by malign intent, even if individual representatives of this system were not equally tainted. This perspective was common to parents who declined all vaccines and those who accepted some. We regard the differences between these parents—and indeed the differences between vaccine decliners and those whose Western medical epistemology informs reflexive trust—as arising from the internalization of countering views, which facilitates nuance. (shrink)

In contentless experience (sometimes termed _pure consciousness_) there is an absence of mental content such as thought, perception, and mental imagery. The path to contentless experience in meditation can be taken to comprise the meditation technique, and the experiences (“interim-states”) on the way to the contentless “goal-state/s”. Shamatha, Transcendental, and Stillness Meditation are each said to access contentless experience, but the path to that experience in each practice is not yet well understood from a scientific perspective. We have employed evidence (...) synthesis to select and review 135 expert texts from those traditions. In this paper we describe the techniques and interim-states based on the expert texts and compare them across the practices on key dimensions. Superficially, Shamatha and Transcendental Meditation appear very different to Stillness Meditation in that they require bringing awareness to a meditation object. The more detailed and systematic approach taken in this paper indicates that posturally Shamatha is closer to Stillness Meditation, and that on several other dimensions Shamatha is quite different to both other practices. In particular, Shamatha involves greater measures to cultivate attentional stability and vividness with respect to an object, greater focusing, less tolerance of mind-wandering, more monitoring, and more deliberate doing/control. Achieving contentless experience in Shamatha is much slower, more difficult, and less frequent. The findings have important implications for taxonomies of meditation and for consciousness, neuroscientific, and clinical research/practice, and will provide new and useful insights for meditation practitioners. (shrink)

The theory of Participatory Discrepancies (or PDs) claims that minute temporal asynchronies (microtiming) in music performance are crucial for prompting bodily entrainment in listeners, which is a fundamental effect of the “groove” experience. Previous research has failed to find evidence to support this theory. The present study tested the influence of varying PD magnitudes on the beat-related body movement behavior of music listeners. 160 participants (79 music experts, 81 non-experts) listened to twelve music clips in either Funk or Swing style. (...) These stimuli were based on two audio recordings (one in each style) of expert drum and bass duo performances. In one series of six clips, the PDs were downscaled from their originally performed magnitude to complete quantization in steps of 20%. In another series of six clips, the PDs were upscaled from their original magnitude to double magnitude in steps of 20%. The intensity of the listeners’ beat-related head movement was measured using video-based motion capture technology and Fourier analysis. A mixed-design four-factor ANOVA showed that the PD manipulations had a significant effect on the expert listeners’ entrainment behavior. The experts moved more when listening to stimuli with PDs that were downscaled by 60% compared to completely quantized stimuli. This finding offers partial support for PD theory: PDs of a certain magnitude do augment entrainment in listeners. But the effect was found to be small to moderately sized, and it affected music expert listeners only. (shrink)

In her recent article, “The One Necessary Condition for a Business Ethics Course: The Teacher Must be a Philosopher,” Ellen Klein argues that philosophers are best qualified to teach business ethics by virtue of their expertise in ethical theory. Klein likens her claim to that of Plato’s “philosopher-king,” who claimed that the philosopher is best suited to be “king,” because he possesses a theoretical understanding of justice. In response to Klein, I point to Aristotle’s objection to Plato, which shows that (...) theoretical knowledge of ethics is not sufficient for making a person ethical, because ethics requires both theoretical and practical knowledge. Ultimately, I argue that in order to have a successful business ethics class, one must address both the issues unique to ethical theory, and the particularstructures and contexts that are unique to making an ethical decision within the business environment. (shrink)

This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a (...) rich tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform. (shrink)

Understanding how look-ahead search and pattern recognition interact is one of the important research questions in the study of expert problem solving. This paper examines the implications of the template theory Gobet & Simon, 1996a , a recent theory of expert memory, on the theory of problem solving in chess. Templates are chunks Chase & Simon, 1973 that have evolved into more complex data structures and that possess slots allowing values to be encoded rapidly. Templates may facilitate search (...) in three ways: a by allowing information to be stored into LTM rapidly; b by allowing a search in the template space in addition to a search in the move space; and c by compensating loss in the minds eye due to interference and decay. A computer model implementing the main ideas of the theory is presented, and simulations of its search behaviour are discussed. The template theory accounts for the slight skill difference in average depth of search found in chess players, as well as for other empirical data. (shrink)

We investigated the understanding of causal systems categories—categories defined by common causal structure rather than by common domain content—among college students. We asked students who were either novices or experts in the physical sciences to sort descriptions of real-world phenomena that varied in their causal structure (e.g., negative feedback vs. causal chain) and in their content domain (e.g., economics vs. biology). Our hypothesis was that there would be a shift from domain-based sorting to causal sorting with increasing expertise in the (...) relevant domains. This prediction was borne out: The novice groups sorted primarily by domain and the expert group sorted by causal category. These results suggest that science training facilitates insight about causal structures. (shrink)

Artificial intelligence and robotics have increasingly been adopted in agri-food systems—from milking robots to self-driving tractors. New projects extend these technologies in an effort to automate skilled work that has previously been considered dependent on human expertise due to its complexity. In this paper, we draw on qualitative research carried out with farm managers on apple orchards and winegrape vineyards in Aotearoa New Zealand. We investigate how agricultural managers’ perceptions of future agricultural automation relates to their approach to expertise, or (...) the degree to which they think specialised skills and knowledge are required to perform agricultural work on their orchards and vineyards. Our research generates two insights: the perceived potential for work to be automated is related to the degree to which it is seen to require technical or embodied expertise, with technical expertise being more automatable; and, while embodied expertise is perceived to be more difficult to automate, it is sometimes attributed more exclusively to those in positions of power, such that embodied expertise can be highly valued while the majority of embodied work is viewed as non-expert and thus automatable. Our analysis illustrates that a robot can be an expert when expertise is technical. It also shows variability in the conceptualization of skilled or unskilled work, and that those conceptualizations can set the stage for the future effects of new technologies. This generates new insights into the conditions under which automation might reproduce existing inequalities in agriculture, and also raises new questions about responsibility in the context of automation. (shrink)

In light of the widespread use of algorithmic (intelligent) systems across numerous domains, there is an increasing awareness about the need to explain their underlying decision-making process and resulting outcomes. Since oftentimes these systems are being considered as black boxes, adding explanations to their outcomes may contribute to the perception of their transparency and, as a result, increase users’ trust and fairness perception towards the system, regardless of its actual fairness, which can be measured using various fairness tests and measurements. (...) Different explanation styles may have a different impact on users’ perception of fairness towards the system and on their understanding of the outcome of the system. Hence, there is a need to understand how various explanation styles may impact non-expert users’ perceptions of fairness and understanding of the system’s outcome. In this study we aimed at fulfilling this need. We performed a between-subject user study in order to examine the effect of various explanation styles on users’ fairness perception and understanding of the outcome. In the experiment we examined four known styles of textual explanations (case-based, demographic-based, input influence-based and sensitivity-based) along with a new style (certification-based) that reflect the results of an auditing process of the system. The results suggest that providing some kind of explanation contributes to users’ understanding of the outcome and that some explanation styles are more beneficial than others. Moreover, while explanations provided by the system are important and can indeed enhance users’ perception of fairness, their perception mainly depends on the outcome of the system. The results may shed light on one of the main problems in explainability of algorithmic systems, which is choosing the best explanation to promote users’ fairness perception towards a particular system, with respect to the outcome of the system. The contribution of this study is reflected in the new and realistic case study that was examined, in the creation and evaluation of a new explanation style that can be used as the link between the actual (computational) fairness of the system and users’ fairness perception and in the need of analyzing and evaluating explanations while taking into account the outcome of the system. (shrink)

Expertise is commonly viewed as a professionalized competence in a specific field. Expert professional identities are produced and reproduced through professional training and other socialization mechanisms, which work to generate for a specific group of individuals a specific set of expert skills and knowledge. In this paper, I examine participants’ orientations to their distinct expert professional identities from the perspective of deontic authority. Drawing on 15 video-recorded church workplace meetings between pastors and cantors as data, and conversation (...) analysis as a theoretical and methodological framework, I analyze situations where a non-expert participant makes a proposal that the expert participant orients to as reasonable to comply with. Specifically, I demonstrate how the expert participants respond to these proposals with displays of deontic authority, arguably in an attempt to maintain their expert identities in the face of their de facto compliance with the proposals. In these situations, the expert participants are shown to invoke a past decision of their own, a future decision of their own, or a pattern that is beyond both participants’ control. Each of these practices involves the expert participant balancing resistance and compliance by minimally acknowledging the content of the non-expert participant’s proposal, while excluding the non-expert from those who have deontic authority in the matter. In so doing, the expert speaker implies that the non-expert proposal speaker lacks procedural knowledge about the specific matters about which it is relevant to make proposals to experts and access to the distinct experiential perspective that characterizes expert perception of things. It is thus argued that, in this context, the mere claims of deontic authority, produced without any substantial displays of expert knowledge, can serve the maintenance of expert professional identities. (shrink)