Proponents of enactivism should be interested in exploring what notion of action best captures the type of action–perception link that the view proposes, such that it covers all the aspects in which our doings constitute and are constituted by our perceiving. This article proposes and defends the thesis that the notion of sensorimotor dependencies is insufficient to account for the reality of human perception and that the central enactive notion should be that of perceptual practices. Sensorimotor enactivism is insufficient because it has no traction on socially dependent perceptions (SDPs), which are essential to the role and significance of perception in our lives. Since the social dimension is a central desideratum in a theory of human perception, enactivism needs a notion that accounts for such an aspect. This article sketches the main features of the Wittgenstein-inspired notion of perceptual practices as the central notion to understand perception. Perception, I claim, is properly understood as woven into a type of social practices that includes food, dance, dress, and music. More specifically, perceptual practices are the enactment of culturally structured, normatively rich techniques of commerce of meaningful multi- and intermodal perceptible material. I argue that perceptual practices explain three central features of SDP: attentional focus, aspects’ salience, and modal-specific harmony-like relations.

Key words: enactivism, perception, practices, culture, intersubjectivity, pragmatism

Proponents of enactivism should be interested in exploring what notion of action best captures the type of action–perception link that the view proposes, such that it covers all the aspects in which our doings constitute and are constituted by our perceiving. This article proposes and defends the thesis that the notion of sensorimotor dependencies is insufficient to account for the reality of human perception and that the central enactive notion should be that of perceptual practices. Sensorimotor enactivism is insufficient because it has no traction on socially dependent perceptions (SDPs), which are essential to the role and significance of perception in our lives. Since the social dimension is a central desideratum in a theory of human perception, enactivism needs a notion that accounts for such an aspect. This article sketches the main features of the Wittgenstein-inspired notion of perceptual practices as the central notion to understand perception. Perception, I claim, is properly understood as woven into a type of social practices that includes food, dance, dress, and music. More specifically, perceptual practices are the enactment of culturally structured, normatively rich techniques of commerce of meaningful multi- and intermodal perceptible material. I argue that perceptual practices explain three central features of SDP: attentional focus, aspects’ salience, and modal-specific harmony-like relations.

Key words: enactivism, perception, practices, culture, intersubjectivity, pragmatism.

Compared with traditional theories, systems theory presents a deviation. It replaces causal explanation by functional explanation. This paper shows what scandalon is inherent in this substitution and elucidates some models (self-organization, dance, non-triviality, structural coupling) which put the explanatory principle to work. The paper concludes by showing how systems theory aims at a general concept of communication that not only means a passing on of knowledge but above all the tracing of ignorance. Overall, systems theory is presented as a joker dealing with the paradox that the system is never identical to itself as soon as it is considered as a function of itself and its environment. The system has to withdraw into the function it is a function of in order to enfold this paradox.

As sentient and social beings, we live in hope that we can be understood when we try to communicate with each other but we also know that we might be wrong. We strive for better understandings, engaging in an on-going dance of collective sense-making. This paper considers how communication among individuals involves co-creation of meaning by exploring narratives those expressed by a speaker and those created internally by listeners in efforts to achieve understanding. We note that the extent of these efforts varies from reliance on prejudice at one extreme to deep listening at the other, and that organizational barriers may exist which inhibit cocreation of meaning. We suggest that an open systems approach, which enables individuals to explore and share their contextually dependent understandings, will be helpful. We propose a framework that supports and guides participants in endeavors to co-create understandings of problem spaces through storytelling and listening.

Key words: communication, knowledge creation, listening, narratives, open systems, sense-making

The Tree of Knowledge, by Humberto Maturana and Francisco Varela, is a landmark attempt to integrate biology, cognition, and epistemology into a single science, reversing the dualism of fact and value, and of observer and observed, that has haunted the West since the seventeenth century. The authors see perception as a reciprocal and interacting phenomenon, a “dance of congruity” that takes place between a living entity and its environment. This, they argue, implies a relativity of worldviews (there are no certainties), as well as the existence of a biology of cooperation going back millions of years. Recognition of a lack of absolutes, and of the nature of perception itself, they assert, make it possible for us today to change things for the better, as a deliberate and conscious act. What is overlooked in this discussion, however, are the origins and nature of conflict. By being pointedly apolitical, the authors wind up implying that one worldview is as good as the next. Cognitively speaking, the substitution of Buddhism for politics is a serious error, leaving, as it does, too many crucial questions unanswered. It is thus doubtful whether the biological argument being advanced here can stand up to serious scrutiny, and whether the dualism of modern science has indeed been overcome. Yet The Tree of Knowledge remains an important milestone in our current efforts to recognize that science is not value-free, and that fact and value are inevitably tied together. We are finally going to have to create a science that does not split the two apart, and that puts the human being back into the world as an involved participant, not as an alienated observer.

For many years three key aspects of creative processes have been glossed over by theorists eager to avoid the mystery of consciousness and instead embrace an implicitly more formal, computational vision: autonomy, phenomenality and the temporally embedded and bounded nature of creative processes. In this paper we will discuss autopoiesis and creativity; an alternative metaphor which we suggest offers new insight into these long overlooked aspects of the creative processes in humans and the machine, and examine the metaphor in the context of dance choreography.

Key words: autonomy, autopoiesis, creativity, dance, improvisation.

Excerpt: The genuine purpose and objective of this work is to develop a clear-cut distinction between (1) individuals and organizations, and between (2) individual and organizational knowledge, learning, and memory. individuals and organizations lend themselves to theoretical scrutiny as two ontologically distinct entities despite being one perceptual phenomenon in practice. the distinction yields insights into knowledge, learning, and memory of both individuals and organizations as if the positions and movements that constitute a dance are observed devoid of the dancer, and vice versa. it provides the initial backdrop against which old and new questions in management science and organization theory are put, for example, “what is the effect of organizational structure on the knowledge of organizations?”, “how does personnel turnover and layoff affect organizational learning?”, and “under which conditions are communities of practice beneficial to organizational memory?”

Often we like to attribute credit for something we have accomplished by saying that we could not have done it except for the far greater work done by some predecessor. As Isaac Newton put it If I have seen further, it is by standing on ye shoulders of Giants. This phrase has now become common usage, and we use it to pay our deepest respect to someone whose work has substantially contributed to what we ourselves do. Many people in the American Society for Cybernetics have my deepest respect and have contributed greatly to my thinking. Not the least of these is Heinz von Foerster who I had the opportunity to visit several times over the last seven years. However I would not speak of myself as standing on his shoulders; it does not seem like a comfortable thing to do, and furthermore, like many memorable phrases, it evokes various listenings; various thoughts and emotions which do not pertain to the way I related to this wonderful man. Sometimes the claim I stand on the shoulders of is heard as trivial, as a stock phrase used in a formal dance to satisfy a perceived requirement for deference. Sometimes it is heard as trite, in the sense of superficiality. Of course it is sometimes both uttered and heard as having both conviction and depth, yet even then a number of interesting ambiguities persist, and it is those that I wish to reflect on now.

This paper utilizes the enactivist notion of ‘sense-making’ to discuss the nature of depression and examine some implications for treatment. As I understand it, sensemaking is fully embodied, fundamentally affective, and thoroughly embedded in a social environment. I begin by presenting an enactivist conceptualization of affective intentionality and describing how this general mode of intentional directedness to the world is disrupted in cases of major depressive disorder. Next, I utilize this enactivist framework to unpack the notion of ‘temporal desituatedness,’ and maintain that the characteristic symptoms of depression result from a disruption to the futuredirected structure of affective intentionality. This can be conceptualized as a loss of Bonline intelligence^ and a shrinking of the field of affordances. Then, I argue that two of the standard modes of treatments for depression, medication and cognitive behavioral therapy, are not fully sufficient means of restoring online intelligence, and that these limitations stem partly from the approaches’ implicit commitment to a brainbound, overly cognitivist view of the mind. I recommend expressive arts interventions such as dance-movement therapy and music therapy as important supplementary treatment methods that deserve further consideration. Insofar as they revitalize subjects’ bodies and emotions, cultivate an openness to the future, and promote self-insight and social synchrony, these treatment modes not only reflect key insights of enactivism, but also offer great potential for lasting healing.

Key words: enactivism, depression, dance-movement therapy, music therapy, expressive arts therapy.

Purpose: This paper aims to mediate Josef Mitterer’s non-dualistic philosophy with the claim that speaking is a process of embodied experience. Approach: Key assumptions of enactive cognitive science, such as the crossmodal integration of speech and gesture and the perceptual grounding of linguistic concepts are illustrated through selected performance pieces of multimedia artist Laurie Anderson. Findings: The analysis of Anderson’s artistic work questions a number of dualisms that guide truth-oriented models of language. Her performance pieces demonstrate that language is both sensually enacted and conceptually reflected through the integration of iconic signing (e.g. sound play, dance) with symbolic communication. Moreover, Anderson’s artistic practice demonstrates that media such as voice, gesture and recording technologies realize different forms of embodied language. Benefits: Media aesthetics in the vein of embodied cognition can overcome a number of the dualisms that inform analytical philosophy of language, linguistics, and communication studies, such as perceptual/conceptual meaning, iconicity/symbolicity, emotion/cognition, body/technology and voice/script.

Key words: language, embodiment, media, aesthetics, performance art.