This chapter considers a fundamental question about how the mind works: Are the algorithms of cognition specifically implemented by the nervous system, with a unique role played by representations and processes internal to the brain? Alternatively, is cognition better understood as a product of the brain and body—or perhaps the result of the entire organism interacting with its environment? The first part focuses on the theoretical shift from mental representation and mind–brain identity to the embodied, embedded, extended, and enactive mind, approaches collectively known as 4E, distributed, or situated cognition. In the second part, 4E concepts such as epistemic action are applied to aspects of art and music, specifically the creation of visual depictions, the invention of musical notation, and the use of musical instruments. In the third part, the scope widens to the interdisciplinary exchange itself. Consistent with the themes of this book, I suggest that expanding the concept of cognition benefits from bringing the empirical sciences in closer dialogue with philosophy and the humanities. Specifically, the distributed perspective strengthens the interdisciplinary framework of naturalized aesthetics by drawing increased attention to the conceptual rigour valued by philosophers and to the cultural–historical contingencies emphasized by scholars of the humanities.