The pharasaic artform, the resonator, is the experiential equivalent of the Newtonian three-ball problem.  There are three media elements.  Any two together will lend itself to the creation of a simple narrative.  But three at once, with no actual connection between them, becomes entirely unpredictable.  As you try to see the whole thing, to frame it in your view finder, and exert maximal grip, it defies a predictive analysis.  Micro-fluctuations become amplified, symmetry is broken by a random event one level down.  This lightweight structure, where meaning arises without effort, this is you-here-now-awareness-attention.  It is a tool, designed like a mantra.  And it must be allowed to run for at least 30 seconds.  Otherwise, that ain’t part of the game.

Let’s define an anti-embodied cognitive science.

We start, not by disagreeing with the enactivists, but by agreeing with them up to, but excluding agency.  Let’s discard the assumption that the lived body is the locus of experience.  That should get the party started.

Then we wait for someone to cry foul.  We take their argument, whatever it is, and we examine its agential commitments, and associated mentalese. There is no test one can do to distinguish between the tumblebot and the goldfish without presuming some locus of agency.  There will be many domains of relative autonomy though.

Take whatever ‘mind’ is offered, and call it the P-world.  The domain of present experience.  Identify the P-world in a variety of ways: Umwelt, milieu, consciousness.  The P-bomb is, of course, that the P-world does not exist.  It is a construct that allows the discussion of a world.

What’s the endgame?  Do we no longer draw the boundary at the species?  Is this the way to realize that we are the natural world?  We are the world we see.

So much blood and ink has been spilt trying to bridge the gap between something called mind and something called world. The gap I seek to bridge is instead between something called experience and something called language. This we can do. And with that the game is won.

I wish to draw out the waves in wheat fields idea somewhat more.  To me it is obvious at first glance what is meant.  But thinking the analogy through demands being explicit about a number of tricky issues, including the borders of the P-world (not a simple spatiotemporal bubble!) and the way in which the chair I meet in immediate experience is *both* collectively constituted, thus everyone’s chair, and entirely mine and mine alone.

This might be most fruitfully done within the book, when the P-world concept is first mooted, or shortly thereafter.

So I started working on a sketch today that links two ideas, and the combination is surprising.

On the one hand we have O’Regan and Noe’s take on sensorimotor correspondences.  This is actually not far from a lot of Gibsonian work within Ecological Psychology.  The basic idea is that in perceiving, we are skillfully engaging with the world, and that practiced and tuned action gives rise to a corresponding characteristic change in the sensory array.  Gibsonians would say this is the basis of direct perception.  Enaction-heads would say this is skillful coping, or some such.

On the other hand, we have the peculiar issue of sensorimotor synchronization, perhaps best illustrated by a group of people dancing or beating drums together.  In the scientific literature, this has withered to a laboratory situation in which people tap in time to a metronome. (The horror, the horror.)  This is a singularly human achievement, the very odd animal counterexample notwithstanding (yes, Snowball, I’m looking at you and the Gelada baboons).  A fuller account of the basis for sensorimotor synchronization would help us enormously.  It may underpin a burgeoning theory of memes; it speaks to Gibson’s intuition that the nervous system displays resonant properties; it fits with a range of specific situations, from air guitar to stuttering.  All can be described, in some fuzzy essence, with a conceptually simple model in which two processes enter into a coupled form of synergy which looks like resonance within and among coupled systems with many degrees of freedom.


Sometimes, when we dream, but are close to waking, a bodily process, like a full bladder, or indigestion, makes itself obvious in the dream.  When recounted, it has a narrative form.  Here, we see the construction, from the raw, non-linguistic material of the P-world, a story, an autobiography.  We might attend more closely to that border in individuals, and take note of how they each individually understand their own bodies to work.  What does the spleen mean to X, the heart to Y?  This is akin to trying to map from the observer’s story about glucose and metabolisms, to the cell’s story about a direction.

The camera, and to a greater extent, the moving camera, have truly messed with our notions of experience and objectivity.  The movie editing techniques that have proliferated do not respect the view from one point of view.  In that, they insist upon a third person view of the world.  Weird. Wherewith with that?

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