Various authors see human flourishing as the overarching aim to which education should contribute. We ask whether fostering _wonder_ can help education attain this aim. We discuss two possibilities: firstly, it may be that having a sense of wonder as adults (possibly fostered by and/or refined due to education) contributes to flourishing itself. Secondly, it may be that fostering wonder in education increases the likelihood that education promotes flourishing, which it might do simply by increasing children’s intrinsic interest in what (...) they learn. We argue that there are many plausible connections between wonder and human flourishing (relating to its epistemic and aesthetic dimensions, among others), and that we have reason to believe that early experiences can influence adults’ capacity for wonder. Furthermore, wonder increases the likelihood that education ‘succeeds’; and it supports people’s ability to live well by heightening their appreciation for the world, helping to uncover baseless beliefs, and increasing their awareness of possible goods. In sum, while having a sense of wonder may not be a constitutive element of human flourishing, it is hard to imagine education for human flourishing that is not also wonder-full education. (shrink)

In this paper, I develop an account of appreciation. I argue that appreciation is an epistemic emotion in which the subject grasps the object in an affective way. The “grasping” and “feeling” components implies that in appreciation, we make sense of the object by having cognitive control over it, are motivated to maintain the valuable epistemic state of understanding, and experience the “aha” or “eureka” moment. This account offers a unified account of the many types of appreciation, including the aesthetic, (...) the moral, and the epistemic. In all these cases, appreciation requires some other first-order emotions as prerequisite. (shrink)

William James is famous for his investigations of the “Varieties of Religious Experience” in which people encounter (what they take to be) the divine. But in his essay, “On a Certain Blindness in Human Beings,” his interest is in our experiences, not of anything purportedly supernatural, but of one another. He thinks we need to cultivate the capacity to apprehend the intrinsic value of others, even and especially of strangers. We do so in experiences of the wonder and beauty of (...) our fellow citizens, and of our harmony with them. Democratic societies require a sense of attraction to one another’s form of life if they are to inspire shared commitments to public goods. Whereas we shouldn’t reject the political significance of aversion, contestation, and dissonance, these negative attitudes do not suffice. Sustaining democratic engagement requires attractive attitudes, and among these are the wonder, beauty, and harmony that James promotes. (shrink)

This paper explores the connection between wonder and meaning, in particular ‘the meaning of life’, a connection that, despite strong intrinsic connections between wonder and the (philosoph...

This thesis presents a study of transcendent experiences — experiences of connection with something greater than oneself — focusing on what they are, how artefacts support them, and how design can contribute to that support. People often find such experiences transformative, and artefacts do support them — but the literature rarely addresses designing artefact support for TXs. This thesis provides a step toward filling that gap. The first phase of research involved the conduct and analysis of 24 interviews with adults (...) of diverse spiritual perspectives, using constructivist Grounded Theory methods informed by relevant literature and by studies performed earlier in the PhD programme. Analysis found that TXs proceed in three phases — creating the context, living the experience, integrating the experience — and that artefacts support two phases and people desire enhancements to all three. This TX framework supports and extends experience structures from the literature: it recognises the top-level categories as phases in a cycle where integration may alter future contexts, and it extends the structure of TX by incorporating the relationships of artefacts and of enhancement desires to the phases of these experiences. This extended structure constitutes a grounded theory of transcendent user experience. The second phase involved the design and conduct of three “Transcendhance” game workshops for enhancing transcendence, which incorporated themes from the grounded theory and aimed to elicit design ideas in an atmosphere of imagination, fun, and play. Participants sketched 69 speculative ideas for techno-spiritual artefacts, and analysis mapped them to TX phases and identified possible extensions inspired by relevant research. The great majority of ideas mapped to the phase Creating the Context, with very few mapping to Living the Experience, which suggests that context may be easier than lived experience to understand and address directly. This point is especially important for experiences such as TX that are tricky to define, impossible to arrange or anticipate, and thus unsuitable for straight-forward “classic” user experience methods. The final phase involved the elaboration of workshop ideas to explore the extension of design fiction for TUX. Analysis related design fiction to the TX phases and suggested features that affect design ideas’ potential for TUX design fiction. This phase ended with the proposal and analysis of three new forms of design fiction — extended imaginary abstracts, comparative imaginary abstracts, and design poetry — using workshop ideas to illustrate the forms, their construction and use, and their benefits to TUX design. Transcendhance workshops and TUX design fictions approach techno-spiritual design peripherally, “sneaking up” on lived experience by addressing context and enabling the consideration of ineffable experience through storytelling, metaphors, and oblique imagery. This thesis combines the grounded theory of transcendent user experience with the Transcendhance workshop process and new forms of design fiction, presenting peripheral design as a promising strategy for facilitating design to enhance transcendent experience. (shrink)

Can we feel emotions about abstract objects, assuming that abstract objects exist? I argue that at least some emotions can have abstract objects as their intentional objects and discuss why this conclusion is not just trivially true. Through critical engagement with the work of Dacher Keltner and Jonathan Haidt, I devote special attention to awe, an emotion that is particularly well suited to show that some emotions can be about either concrete or abstract objects. In responding to a possible objection, (...) according to which we can only feel emotions about things that we take to matter to our flourishing, and thus cannot feel emotions about causally inefficacious abstract objects, I explore how abstract objects can be relevant to human flourishing and discuss someemotions other than awe that can be about abstract objects. I finish by explaining somereasons why my conclusion matters, including the fact that it presents a challenge to perceptual theories of emotion and causal theories of intentionality. (shrink)

Recent museum practice has seen a return to ‘wonder’ as a governing principle for display and visitor engagement. Wonder has long been a contentious topic in aesthetics, literary studies, and philosophy of religion, but its adoption in the museum world has been predominantly uncritical. Here I will suggest that museums draw on a concept of wonder that is largely unchanged from seventeenth-century philosophy, yet without taking account of early modern doubts about wonder's efficacy for knowledge. In this paper I look (...) at Descartes' and Spinoza's views about wonder and the uses and disadvantages of wonder as a learning tool. This examination is extended to consider Descartes' and Spinoza's likely views about ‘museums’, in the sense of spaces that link objects both to feeling and to knowing. Finally, I suggest that there are resources in Spinoza's philosophy for bringing knowledge-enhancing feelings into the museum without resorting to the problematic concept of wonder. (shrink)

Within the community of inquiry literature, the absence of the notion of genuine doubt is notable in spite of its pragmatic roots in the philosophy of Charles Sanders Peirce, for whom the notion was pivotal. We argue for the need to correct this oversight due to the educational significance of genuine doubt—a theoretical and experiential understanding of which can offer insight into the interrelated concepts of wonder, fallibilism, inquiry and prejudice. In order to detail these connections, we reinvigorate the ideas (...) of Peirce by borrowing the language and concepts of Albert Camus, at the same time demonstrating their unlikely congruence. In particular, we argue for the necessity of genuine doubt along with the need for the presence of a diversity of prejudices as a starting point for genuine inquiry. (shrink)

Lady Lovelace’s notes on Babbage’s Analytical Engine never refer to the concept of surprise. Having some pretension to ‘originate’ something—unlike the Analytical Engine—is neither necessary nor sufficient to being able to surprise someone. Turing nevertheless translates Lovelace’s ‘this machine is incapable of originating something’ in terms of a hypothetical ‘computers cannot take us by surprise’ objection to the idea that machines may be deemed capable of thinking. To understand the contemporary significance of what is missed in Turing’s ‘surprise’ translation of (...) Lovelace’s insight, one needs to distinguish between trivial surprises and those events, propositions or encounters that lead us to question our understanding of ourselves or what surrounds us. Only some of these non-trivial surprises are the product of originality endeavours. Not only is it uncommon for surprises to track such endeavours, the type of autonomy that would be required on the part of ‘digital computers’ for originality and surprise to intersect in that way goes far beyond the operational autonomy that can be achieved by ‘learning machines’. This paper argues that a salient translation of Lovelace’s originality insight—for contemporary and future ‘learning machines’—is an upside-down version of Turing’s surprise question: can computers be surprised by us in a non-trivial, ‘co-produced’ way? (shrink)

This body of work is motivated by an apparent contradiction between, on the one hand, Darwin’s testimony in his autobiographical text about a supposed perceptual colour blindness before the aesthetic magnificence of natural landscapes, and, on the other hand, the last paragraph of On the Origin of Species, where he claims to perceive the forms of nature as beautiful and wonderful. My aim is to delve into the essence of the Darwinian perception of beauty in the context of the Weberian (...) concept of “disenchantment of the world”, assumed as a possible conceptual axis that enables the unravelling of the core of this contrast of perceptions. In acknowledging the theory of evolution as one of the most prominent scientific theories likely to have contributed to disenchantment, a number of questions arise: Is disenchantment compatible with aesthetic experience and sensibility before natural beauty? Was it Darwin’s disenchanted conception of the world that led him to believe he was colour blind? To answer these questions, a computer-assisted semantic analysis of lexical frequency and variability, most especially focused on aesthetic-emotional and religious or spiritual adverbs and adjectives, has been undertaken across the six editions of The Origin. The semantic analysis demonstrates that, although disenchanted, Darwin’s descriptions of, mainly, the adaptational excellence of living beings, reflect an aesthetically enriched perception of nature. It is concluded that Darwin’s perceptual colour blindness, then, might be based on a confusion rooted in the equation of equality between aesthetic sensibility in nature and the perception of its beauty as part of the vestigia Dei. (shrink)

: This essay addresses the difficulties that sociology as a discipline continues to experience in grasping the relations between technology, science and the social. I argue that these difficulties stem from a resolute centering of sociology on the social, which follows a generically Durkheimian blueprint. I elaborate a response to these difficulties which derives from recent lines of work in science and technology studies, and which entails a decentering of the social relative to the material and the conceptual, in terms (...) of both objects of analysis and explanatory formats. In order to display the direct sociological relevance of this approach, I move to the macro level, developing the conceptual apparatus of a decentered social theory via the discussion of a historical example of major sociological significance—the systematic gearing together of scientific research, technological innovation and industrial production that originated in the synthetic dye industry in the second half of the nineteenth century. Besides the interest of the topic itself, the aim is thus to exemplify in some detail what a decentered sociology might look like, both empirically and conceptually. (shrink)