When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral beauty (...) in addition to those that have tended to be focused on to date: one which is connected to imagining a deep location for the goodness concerned, and another which is connected to imagining that the goodness stems from capacities which are essential to the person. (shrink)

Experimental philosophy of consciousness aims to investigate and explain our thinking about phenomenally conscious states. Based on empirical studies, researchers have argued (a) that we lack a folk concept of consciousness, (b) that we do not think entities like Microsoft feel regret, (c) that unfelt pains are widely accepted, and (d) that people do not attribute phenomenally conscious states to duplicated hamsters. In this article, I review these and other intriguing claims about people’s understanding of phenomenal consciousness. In doing so, (...) I also show why experimental philosophy of consciousness is challenging, although perhaps not quite as daunting as studying phenomenal consciousness itself. (shrink)

Are emotions bodily feelings or evaluative cognitions? What is happiness, pain, or “being moved”? Are there basic emotions? In this chapter, I review extant empirical work concerning these and related questions in the philosophy of emotion. This will include both (1) studies investigating people’s emotional experiences and (2) studies investigating people’s use of emotion concepts in hypothetical cases. Overall, this review will show the potential of using empirical research methods to inform philosophical questions regarding emotion.

When do people say that they are moved, and does this experience constitute a unique emotion? We review theory and empirical research on being moved across psychology and philosophy. We examine feeling labels, elicitors, valence, bodily sensations, and motivations. We find that the English lexeme being moved typically (but not always) refers to a distinct and potent emotion that results in social bonding; often includes tears, piloerection, chills, or a warm feeling in the chest; and is often described as pleasurable, (...) though sometimes as a mixed emotion. While we conclude that it is a distinct emotion, we also recommend studying it in a more comprehensive emotion framework, instead of using the ambiguous vernacular term being moved as a scientific term. (shrink)

ABSTRACTRecent work investigated the inter-individual functions of emotional tears in depth. In one study. What emotional tears convey: Tearful individuals are seen as warmer, but also as less competent. British Journal of Social Psychology, 56, 146–160. Https://doi.org/10.1111/bjso.12162) tearful individuals were rated as warmer, and participants expressed more intentions to approach and help such individuals. Simultaneously, tearful individuals were rated as less competent, and participants expressed less intention to work with the depicted targets. While tearful individuals were perceived as sadder, perceived (...) sadness mediated only the effect on competence, but not on warmth. We argue that tearful individuals might be perceived as warm because they are perceived as feeling moved and touched. We ran a pre-registered extended replication of Van de Ven et al. Results replicate the warmth and helping findings, but not the competence and work effe... (shrink)

Until now, adult crying has received relatively little interest from investigators, whereas in the popular media there are many strong claims about crying of which the scientific basis is not clear. In this review, we provide an overview of the current state of the scientific literature with respect to crying. We identify gaps in knowledge and propose questions for future research. The following topics receive special attention: Ontogenetic development, antecedents, individual and gender differences, and the intra- and interindividual effects of (...) crying. We conclude that the study of crying may help us obtain better insight into human nature, that is, not only our emotional, but also social, and moral functioning. (shrink)

ABSTRACTPeople sometimes say they are “moved” or “touched” by something. Although the experience is familiar to most, systematic research on being moved has just begun. The current research aims to advance our understanding of the prototypical elicitors of being moved. We tested the hypothesis that being moved is elicited by core values that manifest themselves in circumstances that are unfavourable to their emergence. In three experiments, two with text stimuli and one with pictorial stimuli, we found compelling evidence that the (...) same core value is perceived as more moving when it emerges in unfavourable than in favourable circumstances. The effect was found in both males and females, although stronger in the latter group, and across all investigated core values, although love was generally more moving than other core values. The theoretical and practical significance of these findings is discussed. (shrink)

A configuration of infantile attributes including a large head, large eyes, with a small nose and mouth low on the head comprise the visual baby schema or Kindchenschema that English speakers call “cute.” In contrast to the stimulus gestalt that evokes it, the evoked emotional response to cuteness has been little studied, perhaps because the emotion has no specific name in English, Norwegian, or German. We hypothesize that cuteness typically evokes kama muta, a social-relational emotion that in other contexts is (...) often labeled in English as being moved or touched, heartwarming, nostalgia, patriotic feeling, being touched by the Spirit, the feels, etcetera. What evokes kama muta is sudden intensification of a communal sharing relationship, either communal sharing between the person and another, or communal sharing between observed others. In accord with kama muta theory, we hypothesize that a kama muta response to cuteness results from a sudden feeling of communal sharing with the cute target. In colloquial terms, the perceiver adores the cute kittens and their heart goes out to them. When a person perceives cute targets interacting affectionately - that is, intensifying communal sharing between them - this should strengthen a kama muta response. We experimentally investigated these predictions in two studies (N = 356). Study 1 revealed that videos of cute targets evoked significantly more kama muta than videos of targets that were not particularly cute. Study 2, pre-registered, found that, as hypothesized, when cute targets interacted affectionately they evoked more kama muta and were humanized more than when they were not interacting. We measured the level of kama muta by self-reports of sensations and signs and of feelings labelled heartwarming, being moved, and being touched. Participants' ratings of kama muta were positively correlated with reported cuteness. In addition, as in our previous research on kama muta elicited by other types of stimuli, trait empathic concern predicted kama muta responses and perceived cuteness. The studies thus provide first evidence that cute stimuli evoke the heartwarming emotion of kama muta. (shrink)

ABSTRACTSome political ads used in the 2016 U.S. election evoked feelings colloquially known as being moved to tears. We conceptualise this phenomenon as a positive social emotion that appraises and motivates communal relations, is accompanied by physical sensations, and often labelled metaphorically. We surveyed U.S. voters in the fortnight before the 2016 U.S. election. Selected ads evoked the emotion completely and reliably, but in a partisan fashion: Clinton voters were moved to tears by three selected Clinton ads, and Trump voters (...) were moved to tears by two Trump ads. Viewers were much less moved by ads of the candidate they did not support. Being moved to tears predicted intention to vote for the candidate depicted. We conclude that some contemporary political advertising is able to move its audience to tears, and thereby motivates support. (shrink)

Feeling moved or touched can be accompanied by tears, goosebumps, and sensations of warmth in the centre of the chest. The experience has been described frequently, but psychological science knows little about it. We propose that labelling one’s feeling as being moved or touched is a component of a social-relational emotion that we term kama muta. We hypothesise that it is caused by appraising an intensification of communal sharing relations. Here, we test this by investigating people’s moment-to-moment reports of feeling (...) moved and touched while watching six short videos. We compare these to six other sets of participants’ moment-to-moment responses watching the same videos: respectively, judgements of closeness, reports of weeping, goosebumps, warmth in the centre of the chest, happiness, and sadness. Our eighth time series is expert ratings of communal sharing. Time series analyses show strong and consistent cross-correlations of feeling moved and touched and closeness with each other and with each of the three physiological variables and expert-rated communal sharing – but distinctiveness from happiness and sadness. These results support our model. (shrink)

In The Pursuit of Unhappiness, Daniel Haybron has defended an emotional state theory of happiness, according to which happiness consists in a broadly positive balance of emotions, moods, and mood propensities. In this paper, I argue that Haybron’s theory should be modified in two ways. First, contra Haybron, I argue that sensory pleasures should be regarded as constituents of happiness, alongside emotions and moods. I do this by showing that sensory pleasures are sufficiently similar to emotions for them to be (...) included within the class of happiness-constituting states. Second, I argue that a plausible theory of happiness should not include mood propensities, since their inclusion is either counterintuitive or unnecessary. (shrink)

This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...) are positive, pleasurable, consummatory emotions—emotions of appreciation—which are noninstrumental and which take as their intentional objects the intrinsic qualities of an artwork, more particularly, its formal interrelationships and the way that the overall formal structure of an artwork molds its content. (shrink)

Emotion Review, Volume 13, Issue 4, Page 289-298, October 2021. This paper takes its cue from the recent interest in materiality and “things” in the field of Byzantine studies, to explore the role of objects in evoking being moved. First, it advances a new model to explain the relationship between being moved and affordances. Second, it focuses on a specific case study, that is Michael Psellos’ funeral oration for his daughter Styliane, who died of smallpox at the age of 9 (...) years old. The paper sheds light on how affective affordances of an object contribute to the evocation of being moved in literary texts, working within and affecting narrative patterns. While building on the experience of ethical and spiritual principles clearly recognizable by the audience, such affordances point toward the activation of broader core values. (shrink)

Musical frissons (or chills) have been at the forefront of both philosophical and psychological research on audience responses to music. The aim of this article is to argue that frissons also play an important role in the experience of dance performances. Following Jerrold Levinson’s distinction between sound-quality frissons and sound-structure frissons, the article zooms in on the concept of conflict-induced frissons, which feature prominently in a variety of art forms besides music, from film to literature, and it is of crucial (...) importance for understanding the audience reaction to some dance performances. A case study of Pina Bausch’s choreographies is given to illustrate this point. (shrink)

Arguments for attributing non-conceptual content to experience have predominantly been motivated by aspects of the visual perception of empirical properties. In this article, I pursue a different strategy, arguing that a specific class of affective-evaluative experiences have non-conceptual content. The examples drawn on are affective-evaluative experiences of first exposure, in which the subject has a felt valenced intentional attitude towards evaluative properties of the object of their experience, but lacks any powers of conceptual discrimination regarding those evaluative properties. I also (...) show that by accepting this thesis we can explain relevant features of evaluative understanding. (shrink)

Participation in collective action is known to be driven by two appraisals of a social situation: Beliefs that the situation is unfair and beliefs that a group can change the situation. Anger has been repeatedly found to mediate the relationship between injustice appraisals and collective action. Recent work suggests that the emotion of being moved mediates the relationship between efficacy appraisals and collective action. Building on this prior work, the present research applies kama muta theory to further investigate the relationship (...) between efficacy appraisals and collective action. Kama muta is a positive emotion that is evoked by a sudden intensification of communal sharing, and largely overlaps with the English concept being moved. We investigated its relationship with collective action in both advantaged and disadvantaged racial groups in the context of the Black Lives Matter Movement in Spring of 2020. In one pilot study and one main study, we confirmed that anger toward the system of racial inequalities mediated between injustice and collective action intentions, and that kama muta toward the movement mediated between collective efficacy and collective action intentions. Both mediations were found for both Black and White participants. We also observed additional unpredicted paths from anger to kama muta and from efficacy to anger. Together, this provides evidence for the pivotal role of emotions in collective action intentions, but also points out that appraisals need to be better understood. (shrink)

Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief (...) problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

ABSTRACTPeople can be moved and overwhelmed, a phenomenon typically accompanied by goose-bumps and tears. We argue that these feelings of being moved are not limited to situations that are appraise...

It is a noteworthy disanalogy between contemporary ethics and aesthetics that the fitting-attitude account of value, so prominent in contemporary ethics, sees comparatively little play in aesthetics. The aim of this paper is to articulate what a systematic fitting-attitude-style framework for understanding aesthetic value might look like. In the bulk of the paper, I sketch possible fitting-attitude-style accounts of three central aesthetic values – the beautiful, the sublime, and the powerful – so that the general form of the framework come (...) through. (shrink)

Emotion Review, Volume 13, Issue 4, Page 282-288, October 2021. Efforts to identify in the expression “being moved” a new emotion have found a hospitable environment in the recent turn to the body in emotion and cognitive studies, exemplified herein affect theory, with a particular focus on the effects of music. Although classical Greek and Latin had comparable expressions, however, they did not single out a specific emotion. Given that music played an important role in ancient educational theories, and was (...) imagined as having arousing powerful reactions, this might seem a curious absence. The reason, at least in part, maybe the strong cognitive conception of emotions characteristic of classical theories. But this should not discourage the search for emotions that are not included in the ancient canons. (shrink)

ABSTRACTThe present research tested the notion that emotion expression and context perception are bidirectionally related. Specifically, in two studies focusing on moral violations and positive moral deviations respectively, we presented participants with short vignettes describing behaviours that were either moral, polite or unusual together with a picture of the emotional reaction of a person who supposedly had been a witness to the event. Participants rated both the emotional reactions observed and their own moral appraisal of the situation described. In both (...) studies, we found that situational context influenced how emotional reactions to this context were rated and in turn, the emotional expression shown in reaction to a situation influenced the appraisal of the situation. That is, neither the moral events nor the emotion expressions were judged in an absolute fashion. Rather, the perception of one also depended on the other. (shrink)

Emotional experiences typically labelled “being moved” or “feeling touched” may belong to one universal emotion. This emotion, which has been labelled “kama muta”, is hypothesised to have a positive valence, be elicited by sudden intensifications of social closeness, and be accompanied by warmth, goosebumps and tears. Initial evidence on correlations among the kama muta components has been collected with self-reports after or during the emotion. Continuous measures during the emotion seem particularly informative, but previous work allows only restricted inferences on (...) intra-individual processes because time series were cross-correlated across samples. In the current studies, we instead use a within-subject design to replicate and extend prior work. We compute intra-individual cross-correlations between continuous self-reports on feeling moved and (1) positive and negative affect; (2) goosebumps and subjective warmth and (3) appraisals of closeness and morality. Results confirm the predictions of kama muta theory that feeling moved by intensified communal sharing cross-correlates with appraised closeness, positive affect, warmth and (less so) goosebumps, but not with negative affect. Contrary to predictions, appraised morality cross-correlated with feeling moved as much as appraised closeness did. We conclude that strong inferences on emotional processes are possible using continuous measures, replace earlier findings, and are largely in line with theorising. (shrink)

Political advertising to recruit the support of voters is an inherent part of politics. Today, ads are distributed via television and online, including social media. This type of advertisement attempts to recruit support by presenting convincing arguments and evoking various emotions about the candidate, opponents, and policy proposals. We discuss recent arguments and evidence that a specific social emotion, namely the concept kama muta, plays a role in political advertisements. In vernacular language, kama muta is typically labeled as being moved (...) or touched. We compare kama muta and anger theoretically and discuss how they can influence voters’ willingness to support a candidate. We then, for the first time, compare kama muta and anger empirically in the same study. Specifically, we showed American participants short political ads during the 2018 United States midterm election campaigns. All participants saw both kama muta- and anger-evoking ads from both Democratic or Republican candidates. In total, everybody watched eight ads. We assessed participants’ degree of being moved and angered by the videos and their motivation for three types of political support: ideational, financial, and personal. The emotional impact of an ad depended on its perceived source: Participants felt especially angry after watching the anger-evoking ads and especially moved by moving ads if they identified with the political party that had produced the video. Both emotions mediated were associated with increased intentions to provide support. Importantly, if one of the two emotions was evoked, its effect on political support was enhanced if participants identified with the party that had produced the ad. We discuss limitations of the method and implications of the results for future research and practice. (shrink)

Producing emotional tears is a universal and uniquely human behavior. Until recently, tears have received little serious attention from scientists. Here, we summarize recent theoretical developments and research findings. The evolutionary approach offers a solid ground for the analysis of the functions of tears. This is especially the case for infant crying, which we address in the first part of this contribution. We further elaborate on the antecedents and functions of emotional tears in adults. The main hypothesis that emerges from (...) this overview is that crying evolved as an emotional expression that signals distress and promotes prosocial behaviors in conspecifics. Further, shedding tears may influence the mood of the crier and his/her outlook on life primarily as a consequence of fulfillment of the proposed signaling function of tears. We also describe how cultural phenomena such as ritual weeping nicely fit within this framework, as they often aim to support a request for help to a powerful person or deity and promote social bonding. (shrink)

When communal sharing relationships suddenly intensify, people experience an emotion that English speakers may label, depending on context, “moved,” “touched,” “heart-warming,” “nostalgia,” “patriotism,” or “rapture”. We call the emotion kama muta. Kama muta evokes adaptive motives to devote and commit to the CSRs that are fundamental to social life. It occurs in diverse contexts and appears to be pervasive across cultures and throughout history, while people experience it with reference to its cultural and contextual meanings. Cultures have evolved diverse practices, (...) institutions, roles, narratives, arts, and artifacts whose core function is to evoke kama muta. Kama muta mediates much of human sociality. (shrink)

Homophobia has decreased in past decades, but gut-level disgust towards gay men lingers. It has been suggested that disgust can be reduced by inducing its proposed opposite emotion, elevation. Rese...

In this article, I provide a detailed characterization of being moved, which I claim is a distinct emotion. Being moved is the experience of being struck by the goodness of some specific positive value being exemplified. I start by expounding this account. Next, I discuss three issues that have emerged in the literature regarding it. These concern respectively the valence of being moved, the scope of the values that may constitute its particular objects, and the cognitive sophistication required for experiencing (...) it. My main contention is that when we understand that the presence of the specific positive value must be apprehended as finally, importantly, and impersonally good to trigger being moved, these issues do not arise. (shrink)

Recent attempts to define being moved have difficulties agreeing on its eliciting conditions. The status quaestionis is often summarized as a question of whether the emotion is evoked by exemplifications of a wide range of positive core values or a more restricted set of values associated with attachment. This conclusion is premature. Study participants associate being moved with interactions with their loved ones not merely for what they exemplify but also for their affective bond to them. Being moved is elicited (...) when we apprehend the value of entities to which we are connected through basic as well as extended forms of affiliative attachment. These comprise people, certain objects, and even abstract entities, including the unshakable life-guiding ideas we call “core values.”. (shrink)

Critics often link yet distinguish between ‘moving’ and ‘touching’ characters, scenes and artworks. It has been argued that being moved is a specific emotion, that its formal object is the thin goodness of exemplified final, important and impersonal thick values, and that being touched is an attenuated form of that phenomenon. First, I dispute that the values that move us must be impersonal, since we can be moved by the personal goodness of being loved, free or healthy. Second, I argue (...) that being touched should be considered a distinct emotion type. To support this claim, I refer to apparent differences between the formal objects that the two affective phenomena relate to as well as to dissimilarities in cognitive sophistication and phenomenology. I suggest that we are touched by that which invites love. Vulnerable, innocently suffering and affectionate beings are touching insofar as they need and will be responsive to love. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Emotion Review, Volume 13, Issue 4, Page 299-305, October 2021. According to recent accounts, we experience the emotion of “being moved” when a situation brings into play our core values. What are the core values evoked by nonhuman landscapes, however, particularly as the distinction between man-made and natural environments becomes increasingly blurry in the so-called Anthropocene? That is the central question tackled by this article. I start by rethinking the sublime as an affect that, since Romanticism, has shaped Western attitudes (...) toward nature. I argue that today's climate crisis calls for an expansion of our affective engagement with the nonhuman: the sublime can be part of our emotional repertoire, but only if it is complicated by feelings that point to constitutive human–nonhuman entanglement. (shrink)

Emotion Review, Volume 13, Issue 4, Page 277-281, October 2021.

Giving money to others feels good. It is now standard to use the label ‘warm glow feelings’ to refer to the pleasure people take from giving. But what exactly are warm glow feelings? And why do people experience them? To answer these questions, we ran two studies: a recall task in which participants were asked to remember a donation they made, and a donation task in which participants were given the opportunity to make a donation before reporting their affective states. (...) Correlational and experimental results converge towards the conclusion that, if the nature of the warm glow is straightforward, its source is multifaceted. Regarding the nature of the ‘warm glow’, the pleasure people took in giving was mainly predicted by one particular type of positive emotion and was indeed described by participants as ‘warm’. Regarding the underlying psychological mechanisms, warm glow feelings were elicited by positive appraisals regarding the donor’s moral character, positive appraisals regarding the actual impact of the donor’s donation on the welfare of others and a feeling of communion with others. We discuss the theoretical implications of our findings. (shrink)

In this thesis, I consider the dialectic surrounding the Puzzle of Musical Tragedy i.e. why do people listen to sad music that makes them sad? I agree with Sizer that the best solutions to this puzzle construe the listening experience itself as pleasant. However, against Sizer, I argue that the feelings music induces are best construed as emotions, not moods. Since sad music can promote the perception of a sad person, I argue that music can be an unconscious object of (...) one’s sad feelings. This suggests that sadness – not sad mood – best characterizes the experience of listening to sad music. Further, I argue that Sizer neglects the influence of a pleasant emotion induced by sad music that explains why listening to sad music is pleasant: Being Moved. I conclude that Sizer offers a counterproductive characterization of the Puzzle of Musical Tragedy. (shrink)