Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0013
Daniel T. Lochman
This chapter explores early modern theories and representations of the cognitive connectedness of brain and body – a connectedness effected by fluid processes of emotion, sensation, and intellection that found coherent expression in disparate early modern literary forms and disciplines, from imaginative narratives by Spenser to theological/philosophical and medical texts by Melanchthon, Lemnius, and Thomas Wright. Rooted in versions of Galenism, wherein conceptual ‘piercings’ afforded perceptions of embodiment as extended and in dynamic, enactive engagement with others – including imagined characters and readers. The metaphor facilitated models of reciprocal exchanges of emotion from one literary character to another, from imaginative texts to readers, from the deity to its creatures, and from the world to the body and brain. An idea of affective penetration that early moderns represented by the pierced body helped shape systemic versions of what we today call embodied, enactive and extended affectivity.
{"title":"Pierced with Passion: Brains, Bodies and Worlds in Early Modern Texts","authors":"Daniel T. Lochman","doi":"10.3366/edinburgh/9781474438131.003.0013","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0013","url":null,"abstract":"This chapter explores early modern theories and representations of the cognitive connectedness of brain and body – a connectedness effected by fluid processes of emotion, sensation, and intellection that found coherent expression in disparate early modern literary forms and disciplines, from imaginative narratives by Spenser to theological/philosophical and medical texts by Melanchthon, Lemnius, and Thomas Wright. Rooted in versions of Galenism, wherein conceptual ‘piercings’ afforded perceptions of embodiment as extended and in dynamic, enactive engagement with others – including imagined characters and readers. The metaphor facilitated models of reciprocal exchanges of emotion from one literary character to another, from imaginative texts to readers, from the deity to its creatures, and from the world to the body and brain. An idea of affective penetration that early moderns represented by the pierced body helped shape systemic versions of what we today call embodied, enactive and extended affectivity.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116974607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0003
Werner Schäfke
This chapter examines the medieval Icelandic law book Grágás as it is contained in the medieval manuscripts Staðarhólsbók (AM 334 fol.) and Konungsbók (GKS 1157 fol.), and explores in what ways the two manuscripts can be considered to function as external tools of legal cognition. The aim of the chapter is to explore how the modern concept of distributed cognition can aid us in understanding historical phenomena, in this case, the function of two medieval Icelandic codices containing collections of laws. The chapter outlines what lines of thought and reasoning the examined medieval codices support when used for finding relevant legal norms or charting applicable law. In order to clarify the relation of the historical development of distributed legal cognition and its textual tools, the chapter’s conclusion compares the Grágás manuscripts to an early modern Icelandic legal manuscript (AM 60 8vo), and to modern statute collections. This comparison shows how the distribution of legal cognition to textual tools slowly developed within the textual culture of a formerly predominantly oral society without a significant domestic administrative literacy.
{"title":"Medieval Icelandic Legal Treatises as Tools for External Scaffolding of Legal Cognition","authors":"Werner Schäfke","doi":"10.3366/edinburgh/9781474438131.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0003","url":null,"abstract":"This chapter examines the medieval Icelandic law book Grágás as it is contained in the medieval manuscripts Staðarhólsbók (AM 334 fol.) and Konungsbók (GKS 1157 fol.), and explores in what ways the two manuscripts can be considered to function as external tools of legal cognition. The aim of the chapter is to explore how the modern concept of distributed cognition can aid us in understanding historical phenomena, in this case, the function of two medieval Icelandic codices containing collections of laws. The chapter outlines what lines of thought and reasoning the examined medieval codices support when used for finding relevant legal norms or charting applicable law. In order to clarify the relation of the historical development of distributed legal cognition and its textual tools, the chapter’s conclusion compares the Grágás manuscripts to an early modern Icelandic legal manuscript (AM 60 8vo), and to modern statute collections. This comparison shows how the distribution of legal cognition to textual tools slowly developed within the textual culture of a formerly predominantly oral society without a significant domestic administrative literacy.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129040407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0010
C. Houng
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.
{"title":"Thinking with the Hand: The Practice of Drawing in Renaissance Italy","authors":"C. Houng","doi":"10.3366/edinburgh/9781474438131.003.0010","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0010","url":null,"abstract":"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.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130467505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0016
Pieter Present
This chapter compares Robert Hooke’s views on the use of writing as an external memory with contemporary notions of extended and distributed cognition. The aim is not to portray Hooke as a proponent of these views avant la lettre, but to highlight certain interesting structural similarities and differences. Hooke believed that cognition could be externalised through the use of an external ‘repository’. In this case, cognition takes place through the manipulation of written material. This externalisation of memory makes it possible for other people to access, supplement, and organise the same ‘repository’, which allows for a cognitive division of labour. It is further shown how the Royal Society, of which Hooke was a member, is presented by Thomas Sprat as an enterprise aimed precisely at this kind of cognitive division of labour. The chapter concludes with a concrete example of an ‘external repository’ designed by Hooke, analysing the way it puts into practice Hooke’s ideas on individually and socially extended cognition.
{"title":"‘The adding of artificial organs to the natural’: Extended and Distributed Cognition in Robert Hooke’s Methodology","authors":"Pieter Present","doi":"10.3366/edinburgh/9781474438131.003.0016","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0016","url":null,"abstract":"This chapter compares Robert Hooke’s views on the use of writing as an external memory with contemporary notions of extended and distributed cognition. The aim is not to portray Hooke as a proponent of these views avant la lettre, but to highlight certain interesting structural similarities and differences. Hooke believed that cognition could be externalised through the use of an external ‘repository’. In this case, cognition takes place through the manipulation of written material. This externalisation of memory makes it possible for other people to access, supplement, and organise the same ‘repository’, which allows for a cognitive division of labour. It is further shown how the Royal Society, of which Hooke was a member, is presented by Thomas Sprat as an enterprise aimed precisely at this kind of cognitive division of labour. The chapter concludes with a concrete example of an ‘external repository’ designed by Hooke, analysing the way it puts into practice Hooke’s ideas on individually and socially extended cognition.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129040664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0009
Jan Söffner
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).
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Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0008
R. Lyne
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.
{"title":"Ben Jonson and the Limits of Distributed Cognition","authors":"R. Lyne","doi":"10.3366/edinburgh/9781474438131.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0008","url":null,"abstract":"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.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134084495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0014
H. Wojciehowski
This chapter contends that conceptual metaphors constitute a form of distributed cognition. But while Lakoff and Johnson (1999) propose a transhistorical theory of conceptual metaphor, the present essay, following Trim (2007, 2011), presents a diachronic account of conceptual metaphor that allows for cultural evolution and historical change. Originally presented as a companion piece to Lochman, this chapter offers a case study of metaphors of emotional and cognitive enaction that were prominent during the European Middle Ages and Renaissance, and that throw into relief certain premodern perceptions of intersubjectivity and synchrony. Conceptual metaphors frequently entail notions of gender, in addition to those of embodiment, extension, and enaction. Drawing attention to the gendered aspect of the history of distributed cognition helps us to understand our own embodiment better, while also enabling us to perceive and to critique in new ways the long history of real and imagined gender differences, as well as the political, social, and conceptual hierarchies that have been naturalized in and by our metaphors.
{"title":"Metaphors They Lived By: The Language of Early Modern Intersubjectivity","authors":"H. Wojciehowski","doi":"10.3366/edinburgh/9781474438131.003.0014","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0014","url":null,"abstract":"This chapter contends that conceptual metaphors constitute a form of distributed cognition. But while Lakoff and Johnson (1999) propose a transhistorical theory of conceptual metaphor, the present essay, following Trim (2007, 2011), presents a diachronic account of conceptual metaphor that allows for cultural evolution and historical change. Originally presented as a companion piece to Lochman, this chapter offers a case study of metaphors of emotional and cognitive enaction that were prominent during the European Middle Ages and Renaissance, and that throw into relief certain premodern perceptions of intersubjectivity and synchrony. Conceptual metaphors frequently entail notions of gender, in addition to those of embodiment, extension, and enaction. Drawing attention to the gendered aspect of the history of distributed cognition helps us to understand our own embodiment better, while also enabling us to perceive and to critique in new ways the long history of real and imagined gender differences, as well as the political, social, and conceptual hierarchies that have been naturalized in and by our metaphors.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130893834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0015
L. O. A. Fradenburg Joy
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.
{"title":"‘Le Sigh’: Enactive and Psychoanalytic Insights into Medieval and Renaissance Paralanguage","authors":"L. O. A. Fradenburg Joy","doi":"10.3366/edinburgh/9781474438131.003.0015","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0015","url":null,"abstract":"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.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"267 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132234187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0011
Kate Maxwell
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.
{"title":"The Medieval (Music) Book: A Multimodal Cognitive Artefact","authors":"Kate Maxwell","doi":"10.3366/edinburgh/9781474438131.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0011","url":null,"abstract":"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.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127860076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.3366/edinburgh/9781474438131.003.0012
J. Cumming, E. Tribble
The feats of skill exhibited by early modern actors, singers, and dancers can best be approached through the lens of distributed cognition. Complex assemblages of material, social, bodily, and neural resources enabled and constrained the work of early modern performers. Skilled performers were expected not simply to reproduce material; improvisation and spontaneity were more highly valued than rote memorisation. To be a performer was to be an improviser. Improvisation always involved interaction with other performers and with a given text, whether a score, a choreography, or a play text. This chapter analyses a variety of assemblages underpinning the work of a range of early modern performance practice. These include improvised polyphonic music performed in ecclesiastical settings; improvisation in Renaissance dance; the early modern English theatre, and the notation systems used for part-singing. Each of these operates within a specific cognitive ecology, and each places different demands upon the particular assemblages of embodied expertise, environments, and skilled practice. Distributed cognition provides an analytic framework for understanding these accomplishments.
{"title":"Distributed Cognition, Improvisation and the Performing Arts in Early Modern Europe","authors":"J. Cumming, E. Tribble","doi":"10.3366/edinburgh/9781474438131.003.0012","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474438131.003.0012","url":null,"abstract":"The feats of skill exhibited by early modern actors, singers, and dancers can best be approached through the lens of distributed cognition. Complex assemblages of material, social, bodily, and neural resources enabled and constrained the work of early modern performers. Skilled performers were expected not simply to reproduce material; improvisation and spontaneity were more highly valued than rote memorisation. To be a performer was to be an improviser. Improvisation always involved interaction with other performers and with a given text, whether a score, a choreography, or a play text. This chapter analyses a variety of assemblages underpinning the work of a range of early modern performance practice. These include improvised polyphonic music performed in ecclesiastical settings; improvisation in Renaissance dance; the early modern English theatre, and the notation systems used for part-singing. Each of these operates within a specific cognitive ecology, and each places different demands upon the particular assemblages of embodied expertise, environments, and skilled practice. Distributed cognition provides an analytic framework for understanding these accomplishments.","PeriodicalId":419206,"journal":{"name":"Distributed Cognition in Medieval and Renaissance Culture","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127135392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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