Lifeworld Inc. : and what to do about it

Can we detect changes in the way that the world turns up as they turn up? This paper makes such an attempt. The first part of the paper argues that a wide-ranging change is occurring in the ontological preconditions of Euro-American cultures, based in reworking what and how an event is produced. Driven by the security – entertainment complex, the aim is to mass produce phenomenological encounter: Lifeworld Inc as I call it. Swimming in a sea of data, such an aim requires the construction of just enough authenticity over and over again. In the second part of the paper, I go on to argue that this new world requires a different kind of social science, one that is experimental in its orientation—just as Lifeworld Inc is—but with a mission to provoke awareness in untoward ways in order to produce new means of association. Only thus, or so I argue, can social science add to the world we are now beginning to live in

Instrumental intentionality: an exploration of mediated intentionality in musical improvisation

This paper examines the musician/instrument relationship through exploring notions of mediated intentionality. Ihde’s [1990. Technology and the Lifeworld. Bloomington: Indiana University Press] writings are taken as a starting point for examining these human– technology relationships with a particular focus on the intentionality of the human-instrument construction. Notions of instruments as mediators of intentionality are then examined from a variety of standpoints found in improvisational practice, with a focus on different conceptions of mediation, instrumental resistance and instrumental agency. Verbeek’s [2008. “Cyborg Intentionality: Rethinking the Phenomenology of Human– Technology Relations.” Phenomenology and the Cognitive Sciences 7: 387–395] conception of Cyborg Intentionality is explored as one way to extend these notions within a post-phenomenological posthuman framework. To help contextualise this discussion the author presents a performance system, the Feral Cello, whose design has been informed by the above discussion. Verbeek’s hybrid and composition notions of intentionality are used as a framework for reflection upon the performance system

Insight out : making creativity visible

Models of creative problem solving are predicated upon mental states to explain everything from the outcome of problem‐solving experiments to the emergence of artistic creativity. We present two converging perspectives that describe a profoundly different ontological description of creativity. Our analysis proceeds from a distinction between first‐order problem solving, where the agent interacts with a physical model of the problem and second‐order problem solving, where the agent must cogitate a solution to a problem that is presented as a verbal description of a state of the world but where the agent does not or cannot transform physical elements of a problem. We acknowledge the recent evidence that foregrounds the importance of working memory in problem solving, including insight problem solving. However, we stress that the impressive psychometric success is obtained with a methodology that only measures second‐order problem solving; we question whether first‐order problem solving is equally well predicted by measures of cognitive or dispositional capacities. We propose that if mental simulation is replaced by the opportunity to engage with a physical model of a problem then the environment can provide affordances that help the participant to solve problems. In the second part of the paper, we present the subjective experience of an artist as he monitors the microdecisions that occur during the morphogenesis of a large, clay, sculptural installation. The testimony is a vivid demonstration that creative action occurs, not in the brain, but in the movement between the hand and the clay. Insight becomes outsight

The narrative self, distributed memory, and evocative objects

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct

The technologies of isolation: apocalypse and self in Kurosawa Kiyoshi's Kairo

In this investigation of the Japanese film Kairo, I contemplate how the horrors present in the film relate to the issue of self, by examining a number of interlocking motifs. These include thematic foci on disease and technology which are more intimately and inwardly focused that the film's conclusion first appears to suggest. The true horror here, I argue, is ontological: centred on the self and its divorcing from the exterior world, especially founded in an increased use of and reliance on communicative technologies. I contend that these concerns are manifested in Kairo by presenting the spread of technology as disease-like, infecting the city and the individuals who are isolated and imprisoned by their urban environment. Finally, I investigate the meanings of the apocalypse, expounding how it may be read as hopeful for the future rather than indicative of failure or doom

An integrated marine data collection for the German Bight – Part 2: Tides, salinity, and waves (1996–2015)

Marine spatial planning requires reliable data for, e.g., the design of coastal structures, research, or sea level rise adaptation. This task is particularly ambiguous in the German Bight (North Sea, Europe) because a compromise must be found between economic interests and biodiversity since the environmental status is monitored closely by the European Union. For this reason, we have set up an open-access, integrated marine data collection for the period from 1996 to 2015. It provides bathymetry, surface sediments, tidal dynamics, salinity, and waves for the German Bight and is of interest to stakeholders in science, government, and the economy. This part of a two-part publication presents data from numerical hindcast simulations for sea surface elevation, depth-averaged current velocity, bottom shear stress, depth-averaged salinity, wave parameters, and wave spectra. As an improvement to existing data collections, our data represent the variability in the bathymetry by using annually updated model topographies. Moreover, we provide data at a high temporal and spatial resolution (Hagen et al., 2020b); i.e., numerical model results are gridded to 1000 m at 20 min intervals (https://doi.org/10.48437/02.2020.K2.7000.0004). Tidal characteristic values (Hagen et al., 2020a), such as tidal range or ebb current velocity, are computed based on numerical modeling results (https://doi.org/10.48437/02.2020.K2.7000.0003). Therefore, this integrated marine data collection supports the work of coastal stakeholders and scientists, which ranges from developing detailed coastal models to handling complex natural-habitat problems or designing coastal structures.</p