This study reveals that when human subjects use an “enactive interface” to perceive graphic forms, they employ a variety of perceptive strategies. The aim of the present paper is to introduce the question of the significance of the enaction concept in perceptive strategies of graphic forms.

“Enactive knowledge” is distributed across all the interactions between an organism and its environment. When a human subject interacts with a computerized virtual environment, his motor acts determine sensory feedback from the machine, giving rise to sensory-motor dynamics. The traces of these interactions, which are readily retrieved from the computer, complete information concerning the user’s activities. The analysis of traces makes it possible to describe the sensory-motor dynamics, and to characterize the variety of strategies employed by the users.

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.

In his comment, McGann argues that in my “From Sensorimotor Dependencies to Perceptual Practices: Making Enactivism Social,” I have overlooked a group of enactivist theories that can be grouped under the participatory sense-making label. In this reply, I explain that the omission is due to the fact that such theories are not accounts of perception. It is argued that, unlike participatory sense-making, the approach of the “From Sensorimotor Dependencies to Perceptual Practices” article does not focus on the perceptual aspects of things social, but on the social aspects that are constitutive of perception in general. I conclude by underscoring the central argument of the original article: that the adequate notion to make enactivism about perception social is that of “perceptual practices,” a social practices-based notion of perception.

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

This chapter situates the conception of language (and communication) in enaction in the context of the research program of the cognitive sciences. It focuses on the formulation of the synthesis of hermeneutics and speech acts and the vision of language according to the metaphor of structural coupling. The exclusion of expressive speech acts in this design is problematized. An examination is offered of the critical steps to the theory of language as a reflection and the linguistic correspondence of cognitivism. We examine the foundations of the proposal in the line of language and social enaction as emergent phenomena which are not reducible to autopoiesis but which constitute a new neurophenomenological position in the pragmatic language dimension. A proposal is made for the integration of hermeneutic phenomenology with genetic and generative phenomenology in social semiotics. The inclusion of expressive speech acts based on the functions of language in the Habermas–Bühler line is also addressed. An opening is proposed of enaction to the expressive dimension of language and meaning holism with the referential use of language.

Key words: enaction, neurophenomenology, performative speech acts, expressive speech acts, background, meaning holism.

At present, due in part to our insufficient understanding of the traumatic experience, we are unable to account for the fact that while some people develop post-traumatic symptoms following a traumatic event, others do not. This article suggests that by adopting the enactive approach to perception – according to which perceiving is a way of acting – we may be able to improve our understanding of the traumatic experience and the factors which result in the development of post-traumatic symptoms. The central argument presented in this paper is that when the options of flight or fight are unavailable as a coping/defense mechanism, one freezes (freeze response). In this situation, the ability to master one’s movements is damaged and, in radical cases, the ability to move is lost altogether; as a result the sensorimotor loop may collapse. This, in turn, leads to distorted perception and, in consequence, memory disorders may develop.

Key words: trauma, ptsd, enactivism, knowing-how, freeze response, dissociation

The present paper wants to show the extent to which prosody, or best, prosodies, as Firth (1948) put it, contribute in their own and specific ways to enaction, at various levels of operational closure. On the one hand prosodies (stress, accent, melody) are linked to speech and exchange in a non-escapable fashion, as opposed to gesture for example. Hearing speech implies hearing syllables, tones, intensity variations; it does not imply seeing face or gesture (though one may object the language-dependency of prosody – gesture pairings). Simon & Auchlin (2004) described the independent timings of parameters, such as pitch range, height and intensity, speech rate: the first two or three syllables of speech alone inform on speaker sex, age, mood, investment in speech, importance of speech for her, or intentionality; the meaning of the whole utterance is obtained much later, thus the first flow somehow frames the second which, in turn, may allow blending with previously accessed information. In that way, linguistic meaning incorporates prosodic manifestations. On the other hand, one of the most basic prosodic dimensions, namely speech rate (articulation rate + pauses) is properly speaking a shared dimension between speaker and hearer: no one can hear slowly, or more rapidly than the speaker speaks. Speech rate is properly un-escapable, or necessarily shared dimension in dialogue. Indeed, interpreting is constantly anticipating – but anticipations timing still depends upon speech rate. Note that speech rate is also un-escapable for the observer, provided (s) he enacts the discourse, turning herself into a participant in the piece of interaction (s) he wants to describe (Auchlin, 1999). Sharing the temporal grid, i. e. entering it, is essential to such now. Indeed, interactionists’ work (P. Auer, E. Couper-Kuhlen, F. Müller; M. Selting; J. Local, i. a.) precisely describe verbal interactions’’ ballet temporality. Yet, their descriptive claim, which constrains empirical work, deliberately rejects any kind of theoretical conclusion or generalization; and their need to '‘objectively’’ describe speech events firmly contradicts what is mandatory for the enactive approach, namely the epistemological experientialist turn, first posited by Lakoff & Johnson (1980). The present paper examines a couple of emblematic cases of prosodic enacting meaning experience that should contribute to grounding the concept, both on its epistemological and its empirical sides.

Enactivism is an emerging perspective both in cognitive science and in cultural psychology. Whereas the enactive approach in general has focused on sense-making as an embodied and situated activity, enactive cultural psychology emphasizes the expressive and dynamically enacted nature of cultural meaning. This chapter first situates enactivism within a tradition of expressivist thinking that has historical roots both in radical Enlightenment thought and Romantic reactions against the rationalization of human nature. It will then offer a view of our human biology that can be reconciled with an account of meaning as irreducibly normative. By emphasizing the consensual rather than the supposedly shared nature of meaningful conduct, enactivism avoids some of the classical pitfalls in thinking about culture. In the conclusion a genetic enactive psychology will be presented, which understands sense-making not as a mediated activity, but as a competence acquired through cultural training and personal stylization.

Key words: Enactivism, expression, consensual coordination, emotion, normativity, cultural training.