In the last forty years, significant developments in neuroscience, psychology, and robotic technology have been cause for major trend changes in the philosophy of mind. One such shift has been the reallocation of focus from entirely brain-centered theories of mind to more embodied, embedded, and even extended answers to the questions, what are cognitive processes and where do we find such phenomena? Given that hypotheses such as Clark and Chalmers‘ (1998) Extended Mind or Hutto‘s (2006) Radical Enactivism, systematically undermine the organism-bound, internal, and static pictures of minds and allow instead for the distribution of cognitive processes among brains, bodies, and worlds, a worry that arises is that the very subject of cognitive science, the ‗cognizer‘ will be hopelessly opaque, its mind leaking out into the world all over the place, thereby making it impossible to rein in and properly study. A seemingly unrelated and yet parallel trend has also taken place in feminist theorizing about the body over the last forty years. Whereas feminism of the 1970s and early 1980s tended to view ‗the body‘ as the site and matter of biological sex, while gender was a more fluid and socially constituted mode of existence, more recent feminist theory has questioned the givenness of bodies themselves. In other words, rather than seeing gender categories as manifestations of the already given sexed body, thinkers such as Butler (2000) and Lorber (1992) argue that the very notion of a body is often a product of scientific inquiry, which is itself a product of the power structures aiming to maintain a rigid binary between feminine and masculine gender roles. If the world at large plays such a constitutive role in determining who we are, then this implies that the tools we use, the language we speak, and the power relationships in which we are enmeshed are components of what it means to be embodied in any genuine sense. For thinkers like Haraway (1988) the image of the cyborg is most fitting for this new understanding of embodied subjects, as the cyborg is a coupling of machine and human. Gender and even biological sex will always be a technologically hybridized ‗monster‘ consisting of matter, machine, and mind. The overall aim of my project is thus to bring the two concurrent developments in theorizing about embodied subjects into discourse. As the cyborg features largely in recent feminist thought about embodiment, so too has it been a prominent metaphor in philosophy of mind, ever since Clark (2003) claimed that we ought to think of our ‗selves‘ more appropriately as Natural-Born Cyborgs. I therefore focus on this imagery as I go on to make the argument that this distributed account of cognition as well as of sexual identity is more fruitful for making progress in understanding ‗the human‘ more generally. Likewise, I argue that bringing the discussion of sex and gender into the arena of an otherwise asexual philosophy of mind, will shed light on some important facets of embodiment that have been overlooked but that ought to be addressed if we are to have an adequate account of ‗the proper subject of cognitive science.‘ My chapters include 1) a survey of the discourse between science and philosophy of mind leading to these embodied and extended approaches, 2) a first attempt at defending the extended mind thesis, 3) a discussion of how even the supposed resolution to the objections raised against extended cognition fails to properly take into account just how problematic subjectivity is, regardless of its being defined entirely organismic or not, as organisms themselves are highly malleable and socially constituted, 4) an explanation concerning how the same problematization of embodied subjectivity is ongoing in feminist theory, especially considering the phenomenology of transgendered embodiment, intersex, and technologically mediated bodies, 5) further elaboration on technologically enhanced bodies, exposing what I see as a continuum between bodies modified by ‗hard‘ technologies, such as implants, prostheses or surgeries, and those modified by ‗soft‘ technologies, such as gender norms, the social gaze, and technologically mediated metacognition, and last, 6) an argument for the image of the cyborg to replace ‗organism‘ in cognitive science, along with the corollary argument that cyborgs ought to represent not just embodied minds, but should also be the metaphor in attempting to understand ‗embodiment‘ more generally, which must, at its roots, be underpinned by gender and sexual identity. I argue that the imagery is fitting for the proper study of cognitive subjects as well as sexed and gendered bodies, but moreover, that just as the cyborg suggests a blending and hybridizing of seemingly unrelated elements, so too should the two areas of inquiry, philosophy of mind and feminist theory, pay heed to one another‘s use of this imagery and themselves begin to be more integrative in their approaches.

Theories of cognition and theories of social practices and institutions have often each separately acknowledged the relevance of the other; but seldom have there been consistent and sustained attempts to synthesize these two areas within one explanatory framework. This is precisely what my dissertation aims to remedy. I propose that certain recent developments and themes in philosophy of mind and cognitive science, when understood in the right way, can explain the emergence and dynamics of social practices and institutions. Likewise, the view I construct explains how social practices and institutions shape the character of cognition of their constituent agents. Moreover, I explain both cognitive and social agency under the single explanatory framework provided by Dynamic Systems Theory. Drawing upon the phenomenological tradition, "embodied, "extended", "embedded", "enactive", and "ecological" approaches to cognition, as well as the conceptual resources of Dynamic Systems Theory, I construct a theory of agency that sees cognitive and social agents as far-from-equilibrium, open, recursively self-maintenant dynamic systems. Depending on the specifics of concrete circumstances, such systems, which I call "Dynamic Embodied Agents" (or DEAs), may develop and possess emergent capacities for error-detection, flexible learning, normative behavior, representation, self-reflection, various modes of pattern-recognition, a temporal sense of self, and even moral responsibility. Some such systems are also sensitive to perceived social influences (practices and institutions); while reciprocally constituting and causally affecting them.

This thesis is situated in a moment when the theory and practice of inclusive design appears to be significantly implicated in the social and economic response to demographic changes in Western Europe by addressing the need to reconnect older people with technology. In light of claims that cognitive ageing results in an increasing disconnection from novel digital media in old age, inclusive design is apparently trapped in a discourse in which digital media products and interfaces are designed as a response to a deterministic decline in abilities. The thesis proceeds from this context to ask what intellectual moves are required within the discourses of inclusive design so that its community of theorists and practitioners can both comprehend and afford the enaction of cognitive experience in old age? Whilst influential design scholarship actively disregards reductionist cognitive explanations of human and technological relationships, it appears that inclusive design still requires an explanation of temporal changes to human cognition in later life. Whilst there is a burgeoning area of design related research dealing with this issue—an area this thesis defines as ‘cognitively inclusive design’—the underlying assumptions and claims supporting this body of research suggests its theorists and practitioners are struggling to move beyond conceptualising older people as passive consumers suffering a deterioration in key cognitive abilities. The thesis argues that, by revisiting the cognitive sciences for alternative explanations for the basis of human cognition, it is possible to relieve this problem by opening up new spaces for designers to critically reflect upon the manner in which older people interact with digital media. In taking a position that design is required to support human cognitive enactment, the thesis develops a new approach to conceptualising temporal changes in human cognition, defined as ‘senescent cognition’. From this new critical lens, the thesis provides an alternative ‘senescentechnic’ explanation of cognitive disconnections between older people and digital media that eschews reductionism and moves beyond a deterministic process of deterioration. In reassessing what ageing cognition means, new strategies for the future of inclusive design are proposed that emphasise the role of creating space for older people to actively explore, reflect upon and enact their own cognitive couplings with technology.

This dissertation examines the intersection between theories of body and of genre through the lens of cognitive science. It focuses, in particular, on representations of bodies in exemplars of fabliaux in Old French and Middle English, chivalric romance that feature the figure of Sir Gawain, and the Latin Chronicle of Bury St Edmunds. This dissertation establishes genre theory on cognitive-scientific ground by considering how embodied cognition influences both theories of genre and the representations of bodies. It argues that, rather than a container into which works fit, genre is a network of associations created in the minds of authors and audiences. This network finds expression in the bodies of characters, which differ across genres. It argues, moreover, that genre and bodies influence, in fundamental ways, interpretations of literary works. Finally, this work discusses the possibilities for future research using methods for quantitative textual analysis and data visualization common in the digital humanities. / text

Enligt den situerade ansatsen ses kognitionen/tänkandet som en process i människans hjärna (neurala funktioner) och kropp (sensomotoriska mekanismer) påverkbar av omgivningen via sociala interaktioner. Den materiella och sociala omvärlden nyttjas av människan som verktyg för att stödja fysiska aktiviteter eller avlasta kognitiva processer. På samma sätt används olika typer materiella och kognitiva verktyg i grundskolundervisningen, t.ex. papper och penna eller iPads/datorer med webb-baserade läromedel. Eleven behöver omgivningens stöd vid lärandeaktiviteter. Syfte med aktuellt examinationsarbete är att undersöka via fältstudier på vilket sätt stödjer den materiella och sociokulturella kontexten eleven i lärandet som är baserad på verktygsanvändning. Studieobjektet är en högstadieskola som nyttjar en uppsättning av materiella och kognitiva verktyg i undervisningssyfte. Undersökningen utfördes genom intervjuer och observationer med ett antal elever och lärare. Insamlad data analyserades tematisk. Resultatet tyder på att elevens lärande stöds genom användning av specifika element samintegrerade till ett fungerande helhetssystem (skolans kultur) som är kvalitativt större än summan av de enskilda delarnas begränsade förmåga.

Music-based healing is utilized as a healing tool in many cultural contexts around the world. This thesis examines the cultural practice of music therapy in the context of the larger discipline of medicine in the United States through an ethnographic study of music therapists in the Greater Atlanta area. It contextualizes this data with research in medical ethnomusicology that explores cross-cultural traditions of music in healing rituals. It also connects music therapy to the observation that forces of globalization are strongly correlated with an increase in rates of inequality, poverty, stress, and disease. This thesis discusses how Atlanta-area music therapists use music healing with patients suffering from physical and mental disease and how economic stratification impacts access to music therapy. It is concerned with deeper and not immediately evident processes taking place in music therapy, such as the role of music as a medium and facilitator in healing.

This portfolio of compositions is a logbook on how trans-disciplinary collaboration, gestural embodiment of sound and social context influenced my work as a composer between 2008 and 2013. In most pieces, community based environments with experts in fields other than music were crucial to explore new sound worlds and creative processes beyond my solely scope. While music composition is traditionally a lonely act, this collaborative approach allowed me to repeatedly answer two questions that fascinate me: How can other fields of knowledge inform music? And: How can music inform other fields of knowledge? In some cases, I even used the score to foster transdisciplinary collaboration, like in "Nadir" and "Bisbiglio Qualcosa en el mio Orecchio" where collaboration between musicians and non-musicians is necessary. / Music

<p>Border Images and Imaginaries: Spectral Aesthetics and Visual Media of Americanity at the U.S.-Mexico Border, proposes an emerging aesthetic of spectrality in visual media about the U.S.-Mexico border that challenges the power of militarized and racialized visibility. The visual media projects I work with, including cinema, electronic performance art, site specific video installation, and photography generate an aesthetic of spectrality as they try to conjure and express the socially invisible through sensual elements like affect, sound, kinaesthetics, and full embodiment. This aesthetic elicits the perceptions of our other senses beyond only the visual and makes visible the social flesh of the movements and socialities of migration rather than racialized, migrant bodies. The border, I claim, is an important site for understanding the continued deployment of visibility in the neoliberal legacies of what Quijano and Wallerstein call, Americanity, a term denoting the development of the modern capitalist system in the Americas which relied upon the imbricate logics of colonialism, racism, and the deification the modern. Images of spectrality are intermediaries between what Diana Taylor calls, archive and repertoire, being both documents and sites of embodied engagement that produce both certain and uncertain knowledges of race and migration at the border. The visual media projects in my dissertation cultivate spectral aesthetics to theorize an alternative visibility and the changing production of public memory. By making visible the social flesh of heterogeneous encounters with media, spectral aesthetics reforms collective memory making it a process of democratic editorialization that privileges experience as the site of a multivocal history. This project reclaims the image as a terrain for the multitude's inquiry and imagination about the US-Mexico border, and puts the imaginaries generated by these images in dialog with activist projects happening in relation to immigration.</p> / Dissertation

This report is an ethnographic exploration of othering and belonging in Albania . In the past twenty years there has been a significant amount of scholarship addressing the construction of difference and collective identity in the Balkans. Much of that research has focused on processes of Orientalism, historical analyses ethnic conflict, and nationalism. The work presented here has been shaped by these discussions but is also an attempt to further deconstruct identity and nationalism vis-à-vis the ethnographic examination of belonging. Specifically, this paper addresses my positionality in the field and the ways that this positionality allows for a particular inquiry of belonging. In this report I address how my identification as a Black American female shapes my day-to-day interactions with Albanian informants, and how these encounters can be used to probe representations of what I term “Albanianess”. In doing so, I reveal the ways in which the ethnographic encounter allows for an interrogation of meaning, public intimacy, difference, and local attachments to identity. / text

This project uses the body as a framework to understand and re-imagine the archives (here referring to the professionally managed repository). It argues that the archives as a body of knowledge, like the human body, does not and cannot fit into normative stable categories. Tracing the shift in archival paradigms from modern to postmodern, I employ the posthuman to argue for a concomitant shift in understanding of the archival body, which I conceive of as comprising both human and non-human corpora of knowledge and knowledge-making practices. These corpora are simultaneously becoming and unbecoming as multiply-situated identities, technologies, representations, and timescapes. Using temporality as a key element in analyzing archival productions, I consider how this body might sediment. This research, written from my insider perspective as an archivist, implements a transdisciplinary approach that draws from the disciplines of archival and queer studies as well as from somatechnics, embodiment and affect studies, and decolonizing methodologies to advocate for a proposed Queer/ed Archival Methodology, Q/M, that is designed to trouble the concepts of archival theory and production. It also employed on-site observation and interviews at the Transgender Archives in Victoria, British Columbia, Canada, observation and narrative analysis of recordings held by the Arizona Queer Archives and the Arizona LGBTQ Storytelling Project, and online interviews with the developer of the Skeivt Arkiv, Norway's first state-sanctioned queer archives. Three overarching questions guided the research: 1) How can archives simultaneously hold normative and non-normative stories, materials and practices together as both complementary and also contradictory without subordinating or otherwise invalidating either and so that each can still be considered worthy of archival attention? 2) How might a Q/M be a radical intervention into normative archival practices and structures and to what ends? 3) What might it mean and look like for a queer/ed archives to be a radically open space? For whom? As we encounter multiply-situated subjects in the postmodern approach and follow traces in order to interrogate the force and function of respectability politics within the archival body, the modern and anthropocentric Cartesian statement 'Je pense, donc je suis' (I think, therefore I am) can no longer support the human and records as the central theme of archival endeavors. The posthuman approach offers many possibilities. Through the understanding that human bodies are relational and contingent in complex ways to non-human bodies and each to bodies of knowledges, human and non-human bodies come together in complex relations and assemblages within the archives. Archival productions can thus represent new and emerging thoughts on lived experiences as these are situated in various structures and systems. The Q/M offers a way of thinking and acting with, about, through, among, and at times in spite of traditional as well as emerging archival practices and processes in order to facilitate new, imaginative, irrational, and unpredictable re-configurations of bodies and archives and the many histories and records therein. Its flexible foundation in the theories employed in the research support Q/M's seven key approaches: 1) Participatory Ethos, 2) Connectivity, 3) Storytelling, 4) Intervention, 5) Re-framing, 6) Re-imagining, and 7) Flexibility & Dynamism.