Existing research on the “weapons effect” indicates that simply seeing a weapon can prime aggressive thoughts and appraisals and increase aggressive behavior. But how and why does this happen? I begin by discussing prevailing explanations of the weapons effect and propose that these accounts tend to be over-intellectualistic insofar as they downplay or overlook the important role played by affectivity. In my view, insights from the fields of situated affectivity and enactivism help us to understand how cognitive and affective processes (...) jointly contribute to the weapons effect. Insofar as the presence of weapons alters subject’s bodily-affective orientation and thereby brings about embodied mindshaping, it changes the way they engage with and understand their surroundings. To understand the weapons effect, we will need to examine the constitutive interdependency of appraisal and affectivity and the way in which they jointly motivate action. My proposed account emphasizes the role of affectivity in affordance perception and the way in which subjects gauge the meaning of an object according to its action-possibilities. (shrink)

The concept of affective scaffolding designates the various ways in which we manipulate the environment to influence our affective lives. In this article, I present a constructive critique of recen...

A family of recent externalist approaches in philosophy of mind argues that our psychological capacities are synchronically and diachronically “scaffolded” by external resources. I consider how these “scaffolded” approaches might inform debates in phenomenological psychopathology. I first introduce the idea of “affective scaffolding” and make some taxonomic distinctions. Next, I use schizophrenia as a case study to argue—along with others in phenomenological psychopathology—that schizophrenia is fundamentally a self-disturbance. However, I offer a subtle reconfiguration of these approaches. I argue that schizophrenia (...) is not simply a disruption of ipseity or minimal self-consciousness but rather a disruption of the scaffolded self, established and regulated via its ongoing engagement with the world and others. I conclude by considering how this scaffolded framework indicates the need to consider new forms of intervention and treatment. (shrink)

This chapter wades into the growing discussion surrounding embodied cognition and predictive processing. After surveying a recent debate between Jakob Hohwy and Andy Clark, it articulates two outstanding issues facing discussions of compatibility. It argues that headway on these issues can be made by drawing on the resources of philosophy of science.

We propose a new conceptualization of pain by incorporating advancements made by phenomenologists and cognitive scientists. The biomedical understanding of pain is problematic as it inaccurately endorses a linear relationship between noxious stimuli and pain, and is often dualist or reductionist. From a Cartesian dualist perspective, pain occurs in an immaterial mind. From a reductionist perspective, pain is often considered to be “in the brain.” The biopsychosocial conceptualization of pain has been adopted to combat these problematic views. However, when considering (...) pain research advancements, paired with the work of phenomenologists’ and cognitive scientists’ advanced understanding of perception, the biopsychosocial model is inadequate in many ways. The boundaries between the biological, psychological, and social are artificial, and the model is often applied in a fragmented manner. The model has a limited theoretical foundation, resulting in the perpetuation of dualistic and reductionist beliefs. A new framework may serve to better understand and treat pain. In this paper, we conceptualize pain as a 5E process, arguing that it is: Embodied, Embedded, Enacted, Emotive, and Extended. This perspective is applied using back pain as an exemplar and we explore potential clinical applications. With enactivism at the core of this approach, pain does not reside in a mysterious immaterial mind, nor is it an entity to be found in the blood, brain, or other bodily tissues. Instead, pain is a relational and emergent process of sense-making through a lived body that is inseparable from the world that we shape and that shapes us. (shrink)

Re-encountering certain kinds of artworks in the present (re-listening to music, re- reading novels) can often occasion a kind of recollection akin to episodic recollection, but which may be better cast as ‘phasic’, at least insofar as one can be said to remember ‘what it was like’ to be oneself at some earlier stage or phase in one’s personal history. The kinds of works that prompt such recollection, I call ‘still lives’ - they are limited wholes whose formal properties are (...) stable over time. In the first part of the paper, I spell out a way of making sense of the peculiar power that certain artworks have to occasion such recollection – it is, as I explain, a power or ductus that derives from the form of the artwork, though possession of such a power is not limited to art. I then detail three dimensions along which episodic recollection and phasic recollection as occasioned by re-encountering ‘still lives’ differ: metaphysical, phenomenological, and descriptive. In the second half, I explore a challenge for my account of phasic recollection, which in turn helps make more vivid my proposal as well as the spectral analogy at the heart of it: Just as one can see regions behind one by looking in the direction of a mirror located in the same space in which one is, sometimes by re-encountering certain kinds of artworks now, past intervals or phases ‘behind one’ can be ‘made present’ in a way that the paper aims to make plain. I also explain to what extent phasic recollection might be understood as a form of mental time travel, and what the attendant phenomenology of ‘transportation’ involves. (shrink)

Do moods have intentional objects? If so, what kinds of intentional objects might they have? Some theorists hold that moods are objectless affective states, not ‘about’ anything. Others argue that moods are directed toward a maximally general object like ‘the world’, and so they are about everything, in some sense. In this article, I advance a new theoretical account of the intentional object of moods. According to what I call the ‘present-situation view’, moods are directed toward, or about, the present (...) situation. In other words, a mood is essentially an interpretation of one’s current situational context. As such, our moods change over time in a way that tracks our changing sense of how things are going, here and now. This article aims to make the case that the present-situation view, so understood, offers unique theoretical resources to describe and explain how we experience moods and how they change over time, while also suggesting a helpful way to think about the functional role moods play in our broader cognitive architecture, and pointing toward promising directions for future research into the ways that moods can be experienced, managed, and shared. (shrink)

When perception is made the subject of philosophy, it is primarily understood as pre-theoretical sensual knowledge, and the question of its truth content becomes the focus of attention. In contrast, approaches that fall within the philosophy of embodiment quite rightly point out that perception is bodily anchored and closely linked to interests in action. The primacy of knowledge is therefore substituted by a primacy of praxis. This article aims to point out the blind spots that such a hegemony of the (...) practical entails. In a phenomenological way, it is to be shown that beside the aspect of instrumentality, perceptive situations are also experienced as pleasant or unpleasant as such. This points to the importance of the pathical character of perception. However, it is not a call to enthrone the primacy of affect instead of the primacy of practice. The paper concludes with a thought on the philosophy of pedagogy and education. Proceeding from that perceptive position, it is argued that film in particular offers a chance to apply the phenomenology of pathical perception to the field of intersubjectivity. (shrink)

We humans continuously reshape the environment to alter, enhance, and sustain our affective lives. This two-way modification has been discussed in recent philosophy of mind as affective scaffolding, wherein scaffolding quite literally means that our affective states are enabled and supported by environmental resources such as material objects, other people, and physical spaces. In this article, I will argue that under certain conditions paintings function as noteworthy affective scaffolds to their creators. To expound this idea, I will begin with a (...) theoretical overview of affective niche construction and affective scaffolding. Then, based on the criteria of robustness, concreteness, and dependability, I will specify a solid type of affective scaffolding and propound paintings as a cogent case of such. In support of my argument, I will highlight two feelings typical to painterly creativity: the feeling of aesthetic resonance and the feeling of fusion. To conclude, I will discuss the overall contributions and limitations of my account. (shrink)

The article investigates how dancers can actively shape and handle the ways they are affected throughout their artistic practices. To do so, we adopt a phenomenological-ethnographic approach, analysing the dance-artist Kitt Johnson's site-specific performance production called Mellemrum ('the space between spaces'). We put ethnographically based interview data in a dialectical interaction with the existing notions of affectivity and affective scaffolding — showing their usefulness, while also noting the need for the further notion of what we call affective engagement. This notion, (...) we argue, is needed to account for how artists actively handle their affective involvements. Specifically, as we show, in Mellemrum the dancers deliberately and strategically juggle between (i) a self-affective engagement, (ii) an affective engagement with the environment (space and people), and(iii) an affective-aesthetic engagement with the choreography and artistic ideas of the performance. (shrink)

It is often held that to have a conscious experience presupposes having some form of implicit self-awareness. The most dominant phenomenological view usually claims that we essentially perceive experiences as our own. This is the so called “mineness” character, or dimension of experience. According to this view, mineness is not only essential to conscious experience, it also grounds the idea that pre-reflective self-awareness constitutes a minimal self. In this paper, we show that there are reasons to doubt this constituting role (...) of mineness. We argue that there are alternative possibilities and that the necessity for an adequate theory of the self within psychopathology gives us good reasons to believe that we need a thicker notion of the pre-reflective self. To this end, we develop such a notion: the Pre-Reflective Situational Self. To do so, we will first show how alternative conceptions of pre-reflective self-awareness point to philosophical problems with the standard phenomenological view. We claim that this is mainly due to fact that within the phenomenological account the mineness aspect is implicitly playing several roles. Consequently, we argue that a thin interpretation of pre-reflective self-awareness—based on a thin notion of mineness—cannot do its needed job within, at least within psychopathology. This leads us to believe that a thicker conception of pre-reflective self is needed. We, therefore, develop the notion of the pre-reflective situational self by analyzing the dynamical nature of the relation between self-awareness and the world, specifically through our interactive inhabitation of the social world. (shrink)

Theories of embodied cognition hypothesize interdependencies between psychological well-being and physical posture. The purpose of this study was to assess the feasibility of objectively measuring posture, and to explore the relationship between posture and affect and other patient centered outcomes in breast cancer survivors with persistent postsurgical pain over a 12-week course of therapeutic Qigong mind-body training. Twenty-one BCS with PPSP attended group Qigong training. Clinical outcomes were pain, fatigue, self-esteem, anxiety, depression, stress and exercise self-efficacy. Posture outcomes were vertical (...) spine and vertical head angles in the sagittal plane, measured with a 3D motion capture system in three conditions: eyes open, eyes open relaxed and eyes closed. Assessments were made before and after the Qigong training. The association between categorical variables was measured by Cramer’s V. In the EO condition, most participants who improved in fatigue and anxiety scales also had better vertical head values. For the EOR condition, a moderate correlation was observed between changes in vertical head angle and changes in fatigue scale. In the EC condition, most of the participants who improved in measures of fatigue also improved vertical head angle. Additionally, pain severity decreased while vertical spine angle improved. These preliminary findings support that emotion and other patient centered outcomes should be considered within an embodied framework, and that Qigong may be a promising intervention for addressing biopsychosocially complex interventions such as PPSP in BCSs. (shrink)