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We explore the nature of expert minds in skilled performance by examining classic Japanese dramatist Zeami’s account of skilled expertise in Noh drama. Zeami characterizes expert minds by the co-existence of  mushin  and  riken no ken .  Mushin  (“no-mind”) is an empty state of mind devoid of mental contents.  Riken no ken  (“seeing with a separate seeing”) is a distinctive form of self-awareness, where the actor embodies a common perspective with the audience upon one’s own performance. Conventional accounts of  riken no ken  present it as a form of imagination: expert actors deliver their performance by imagining what it looks like from an external point of view. These imagination-based accounts, however, do not square well with the claim that  riken no ken  co-exists with  mushin . We propose an alternative perception-based account that better accounts for this co-existence, drawing on the concept of “situated normativity” from embodied-ecological theories of cognition. The situated normativity account characterizes  riken no ken  as a form of “direct affective perception” in which actors are aware of their performance’s quality of attunement with the performative situation. Expert Noh actors realise a common perspective with the audience not by imagining an external point of view, but by perceiving the situation that encompasses their own performance from an aesthetic perspective cultivated and shared within the Noh community.

Situated self-awareness in expert performance: a situated normativity account of riken no ken