 Hubert Dreyfus has famously argued that in the case of expert performance we are not self-conscious, but rather “usually involved in coping in a mindless way” (Dreyfus 2007a, 356). On his account, our immersed bodily life is so completely and totally world-engaged that it is entirely oblivious to itself. Indeed, in total absorption, one ceases being a subject altogether (Dreyfus 2007b, 373). It is only when this bodily absorption is interrupted that something like self-consciousness emerges. Dreyfus consequently doesn’t deny the existence of self-consciousness, but he definitely wants to see it as a capacity that is only exercised or actualized on special occasions. Moreover, when this capacity is exercised it necessarily disrupts our coping and radically transform the kind of affordances that are given to it (Dreyfus 2005, 61; 2007, 354). A number of theorists, however, have taken issue with this characterization of expert performance and have argued that in the performing arts (e.g., in dance, musical performance) and in athletics (e.g., baseball, cricket) expert performers may employ an enhanced but still pre-reflective awareness (Legrand 2007), a heedful consciousness of the situation (e.g., Sutton et al. 2011), or even a skillful reflective monitoring (Montero 2010; 2014), or some variable combination of these (Høffding 2018), and that such consciousness does not impede performance but improves it. 