In this paper, we explore a rationalistic orientation in Western society. We suggest that this orientation is one of the predominant ways in which Western society tends to frame, understand and deal with a majority of problems and questions – namely in terms of mathematical analysis, calculation and quantification, relying on logic, numbers, and statistics. Our main goal in this paper is to uncover the affective structure of this rationalistic orientation. In doing so, we illustrate how this orientation structures the (...) way not only individuals but society as a whole frames and solves problems. We firstly point towards some exemplary instances of the rationalistic orientation, specifically regarding science, society, and lifeworld practice. Crucially, we argue that the rationalistic orientation is not merely based on a set of beliefs we could easily correct; but rather, that it is an affective condition tacitly shaping our engagement with the world in an encompassing way. Relating to the work of Martin Heidegger, we argue that what we have called an orientation in the beginning is in fact a rationalistic attunement. This attunement fundamentally shapes the pre-reflective level of how individuals approach the world. We elaborate this claim by showing how the rationalistic attunement concretely manifests in tangible socio-material affect dynamics. In the end, we motivate a critical stance towards this attunement, providing the ability to reflect upon and question instances where this way of framing and solving problems is counterproductive. (shrink)

In this article, I engage with Shawn Loht’s argument concerning film viewing as being-in-the-world, developed in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), focusing on the aesthetics of mood with particular attention to boredom. I elaborate on a phenomenological ontology of the film experience and its perceptual “rules” which hinge on aesthetic choices: what kind of world does the film open up for the viewer? Loht’s account of viewing Dasein enables us to deepen phenomenological (...) approaches regarding the relationship between (cinematic) moods and (filmic) understanding, and through his engagement with Mitsein, to expand on film spectatorship conceived as a relation with a shared film world. I look at how Heideggerian boredom can elicit spectatorial experiences and disclosure of meaning, as well as allowing characters’ being in the film world. A broader engagement with cinematic moods is also conducive to exploring limits and potentialities of a possible Heideggerian film-philosophy. To illustrate some of these points, I discuss Ryusuke Hamaguchi’s Drive My Car (2021), wherein boredom is consistently awakened through aesthetic strategies of dead-time, silence, slowness and repetition. In the film, the mood of boredom, but also that of love and grief as world-disclosing moods which produce a radical change in our being-in-the-world, is a way to establish a sense of our embeddedness, orient our understanding and disclose our finitude and solitude. (shrink)

In four major parts, this study investigates the phenomenon of scrolling. Its first task is to argue in favor of a specific quality of the experience of scrolling, distinguishing it from other forms of distraction, notably from the flow experience. Scrolling takes the shape of aimless drifting. Secondly, it investigates the phenomenon of scrolling against its relevant historical, economic, social, and cultural backdrop, with the intention of understanding scrolling as a typical phenomenon of today, rather than subscribing to a biased (...) and superficial critique of its wastefulness or outright pathological character. The third part presents a comprehensive analysis of the temporal makeup of scrolling. Its temporality is expressed in the specific impatience of scrolling. Furthermore, scrolling amounts to a temporal reduction in the sense of favoring the present moment (and suppressing the temporal dimensions of the past and the future). The reductiveness of scrolling pertains to the semantic content as well. I argue that scrolling does not allow for certain experiences (such as, e.g., profound sadness). The temporality of scrolling is one of experiencing lived time as the permanence of passing. In the last section, I connect scrolling to boredom, and argue that scrolling accomplishes the task of allowing for an existential distractedness. In conclusion, I propose a nuanced evaluation of scrolling: in a Pascalian sense, scrolling responds to a profoundly human need of distraction. Yet I find scrolling dangerous in how easily available such distraction becomes, and in how it accustoms the users to a reductive existential experience. Scrolling, unlike art (but also, in principle, photography, movies, books), shields the user from challenging and enriching experiences. (shrink)

Boredom is an affective experience that can involve pervasive feelings of meaninglessness, emptiness, restlessness, frustration, weariness and indifference, as well as the slowing down of time. An increasing focus of research in many disciplines, interest in boredom has been intensified by the recent Covid-19 pandemic, where social distancing measures have induced both a widespread loss of meaning and a significant disturbance of temporal experience. This article explores the philosophical significance of this aversive experience of ‘pandemic boredom.’ Using Heidegger’s work as (...) a unique vantage point, this article draws on survey data collected by researchers in an ongoing project titled ‘Experiences of Social Distancing During the Covid-19 Pandemic’ to give an original phenomenological interpretation of the meaninglessness and monotony of pandemic boredom. On a Heideggerian interpretation, pandemic boredom involves either a situative confrontation with relative meaninglessness that upholds our absorption in the everyday world, or an existential confrontation with absolute meaninglessness that forces us to take up the question of our existence. Arguing that boredom during the pandemic makes this distinction difficult to sustain, I consider some of the ways in which pandemic boredom might be seen to expose and then exceed the distinctive methodological limitations of Heidegger’s philosophical interpretation of boredom. (shrink)

Being in a mood—such as an anxious, irritable, depressed, tranquil, or cheerful mood—tends to alter the way we react emotionally to the particular objects we encounter. But how, exactly, do moods alter the way we experience particular objects? Perceptualism, a popular approach to understanding affective experiences, holds that moods function like "colored lenses," altering the way we perceive the evaluative properties of the objects we encounter. In this essay, I offer a phenomenological analysis of the experience of being in a (...) mood that illustrates the limitations of the colored lens metaphor and demonstrates the basic inadequacy of the perceptualist account of moods. I argue that when we are in a mood, it is common to experience a kind of "emotional disconnection" in which we perceive evaluative properties that would normally elicit strong emotional reactions from us, but nonetheless we find that, in our present mood, we remain emotionally numb to these perceptions. Such experiences of "seeing but not feeling" are difficult to understand from within the perceptualist paradigm. Building on the work of Martin Heidegger, I sketch an alternative, phenomenological analysis of moods that can better account for experiences of emotional disconnection. On this alternative account, being in a mood does not merely alter the content of our perceptions but, rather, alters the way we interpret the overall significance of what we perceive, relative to a certain situational context. (shrink)

The aim of this article is to explore the emotional dimensions involved in the phenomenon of interpersonal violence, identifying various modalizations of affectivity occurring in the architectonics of this phenomenon. I will first concentrate on symmetrical violence, namely, on the emergence of irritation, annoyance, anger, and fury leading to fierce confrontation. Next I will explore asymmetrical violence, where the passive pole experiences the imminence of the other’s violence in fear and in being terrified. I will then focus on the experience (...) of the third in the face of violence, showing that here the affectivity is differently constituted each time, depending on the various situations of symmetrical and asymmetrical violence that the third witnesses. Finally, I will contrast the experience of real violence with the experience of violence-as-image, and I will pose several questions regarding the modifications of the affective experience of the third in the face of depicted violence. (shrink)

ABSTRACT This paper investigates from a phenomenological perspective the origins of self-illness ambiguity. Drawing on phenomenological theories of affectivity and selfhood, I argue that, as a phenomenon which concerns primarily the ‘personal self’, self-illness ambiguity is dependent on distinct alterations of affective background orientations. I start by illustrating how personhood is anchored in the experience of a specific set of non-intentional affects – i.e. moods or existential feelings – alterations of which are often present in mental ill-health. Also through the (...) exploration of the phenomenology of acute and long-term anxiety, I suggest that self-illness ambiguity originates in the presence of moods or existential feelings that are in tension with the ones that structure the person’s experience prior to the onset of the illness or when its symptoms are not experienced. More specifically, I claim that due to their ability to ‘block’ or ‘suspend’ some of the person’s affective and cognitive responses, such affective orientations may unsettle one’s self-defining evaluative perspective, leading to uncertainty and doubting about one’s personal self. (shrink)

This paper explores the nature of emotions by considering what appear to be two differing, perhaps even conflicting, approaches to affectivity—an evolutionary functional account, on the one hand, and a phenomenological view, on the other. The paper argues for the centrality of the notion of function in both approaches, articulates key differences between them, and attempts to understand how such differences can be overcome.

Phenomenology's central insight is that affectivity is not an inconsequential or contingent characteristic of human existence. Emotions, moods, sentiments, and feelings are not accidents of human existence. They do not happen to happen to us. Rather, we exist the way we do because of and through our affective experiences. Phenomenology thus acknowledges the centrality and ubiquity of affectivity by noting the multitude of ways in which our existence is permeated by our various affective experiences. Yet, it also insists that such (...) experiences are both revealing and constitutive of human nature. It is precisely this last point that marks an important distinction between a phenomenological study of affectivity and perhaps all others. For phenomenology, one cannot understand the nature of human existence without coming to terms with the character of affectivity and at the same time, one cannot come to terms with the character of affectivity without understanding the nature of human existence. Practical and social engagements, scientific endeavors, familial and political interactions are all predicted on the fact that we are beings who are capable of being affectively attuned to ourselves, to the world, and to others. In this entry, we discuss Martin Heidegger's and Jean-Paul Sartre's respective accounts of affectivity. In the first section, we present Heidegger's understanding of affective existence. In this context, we discuss the significance of moods and offer an analysis of the affective phenomena of fear, anxiety, and boredom. In the second section, we present an overview of Sartre's account of emotions and advance a Sartrean interpretation of fear and boredom. We conclude by raising some brief concerns with both accounts. (shrink)