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 essay contributes to the philosophical literature on emotions by advancing a detailed analysis of jadedness and by investigating whether jadedness can be subject to the various standards that are often thought to apply to our emotional states. The essay argues that jadedness is the affective experience of weariness, lack of care, and mild disdain with some object, and that it crucially involves the realisation that such an object was previously, but is no longer, significant to us. On the basis (...) of such a characterisation, jadedness is shown to be an affective call to restructure our commitments and values in a manner that we no longer assign any kind of significance to its object. Precisely because of its potential to affect our lives in such a fashion, jadedness is shown to carry philosophical, psychological, and even social importance. (shrink)

The paper presents an account of suffering as a multi-level phenomenon based on concepts such as mood, being-in-the-world and core life value. This phenomenological account will better allow us to evaluate the hardships associated with dying and thereby assist health care professionals in helping persons to die in the best possible manner. Suffering consists not only in physical pain but in being unable to do basic things that are considered to bestow meaning on one’s life. The suffering can also be (...) related to no longer being able to be the person one wants to be in the eyes of others, to losing one’s dignity and identity. These three types of suffering become articulated by a narrative that holds together and bestows meaning on the whole life and identity of the dying person. In the encounter with the patient, the health-care professional attempts to understand the suffering-experience of the patient in an empathic and dialogic manner, in addition to exploring what has gone wrong in the patient’s body. Matters of physician assisted suicide and/or euthanasia—if it should be legalized and if so under which conditions—need to be addressed by understanding the different levels of human suffering and its positive counterpart, human flourishing, rather than stressing the respect for patient autonomy and no-harm principles, only. In this phenomenological analysis the notions of vulnerability and togetherness, ultimately connecting to the political-philosophical issues of how we live together and take care of each other in a community, need to be scrutinized. (shrink)

In this paper, I articulate Heidegger’s notion of Befindlichkeit and show that his phenomenological account of affective existence can be understood in terms of contemporary work on emotions. By examining Heidegger’s account alongside contemporary accounts of emotions, I not only demonstrate the ways in which key aspects of the former are present in the latter; I also explicate in detail the ways in which our understanding of Befindlichkeit and its relationship to moods and emotions can benefit from an empirically-informed study (...) of emotions. (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)

In ethology, and more generally in the study of animal behavior, observations are _theory-laden_. A review of theories of animal behavior reveals that the animal is a variable _object_, shaped by variable levels of causality. This approach to animal behavior, which differs radically from the way psychology studies human behavior, is a consequence of the difficulty of treating animals as _subjects_ in ethology, where they are most often studied _in the third person_. However, there is a subjectivist tradition in the (...) study of animal behavior, influenced by a phenomenological background. Our aim to promote a _at first person_ approach has led us to propose an etho-phenomenology based on Merleau-Ponty’s phenomenology, Francisco Varela’s enaction theory and constructivist psychology. However, in order to legitimize this approach to animal behavior, we apply it here to behaviors that seem abnormal according to traditional explanatory frameworks, such as actospatiality, tail carrying in mice or expressing ambivalence displayed through color in octopuses. Furthermore, to explore issues such as human-animal communication, the etho-phenomenological perspective is combined with the notion of participatory sense-making, leading us to propose a theory of emotional hybridization. (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)

In psychological research, ressentiment is alluded to as a negative emotional response directed at social groups that are mostly marked as ‘inferior others’. However, conceptual work on this notion is sorely missing. In our conceptual proposal, we use the notion of ‘moral emotions’ as a starting point: typically referred to as “other-condemning” moral emotions (Haidt), psychologists have loosely conceptualised anger, contempt and disgust as a set of negative emotions that have distinct elicitors and involve affective responses to sanction moral misconduct (...) of ‘others’. Though this conglomerate of different other-condemning emotions might describe emotions of ressentiment, we argue that the phenomenon itself is a more complex sentiment. Therefore, we apply Withy’s concept of ‘disclosive posture’ to account for the different psychological processes underlying ressentiment. Disclosing refers to a specific openness to the world, which in the case of ressentiment implies a specific awareness of and sensibility for instances of inequality, grudge, or disfavour. Ressentiment thus becomes a perceptual tool in morally relevant everyday situations. The term ‘posture’ refers to a habitualised, embodied comportment or action tendency that leads to the adoption of a negative attitude and stance towards others. Drawing on Withy, we discuss ressentiment’s similarities (and differences) to the closely related concept of hatred (Szanto, Vendrell Ferran) to embed the analysis of ressentiment in a broader social framework. (shrink)

In psychological research, ressentiment is alluded to as a negative emotional response directed at social groups that are mostly marked as ‘inferior others’. However, conceptual work on this notion is sorely missing. In our conceptual proposal, we use the notion of ‘moral emotions’ as a starting point: typically referred to as “other-condemning” moral emotions (Haidt), psychologists have loosely conceptualised anger, contempt and disgust as a set of negative emotions that have distinct elicitors and involve affective responses to sanction moral misconduct (...) of ‘others’. Though this conglomerate of different other-condemning emotions might describe emotions of ressentiment, we argue that the phenomenon itself is a more complex sentiment. Therefore, we apply Withy’s concept of ‘disclosive posture’ to account for the different psychological processes underlying ressentiment. Disclosing refers to a specific openness to the world, which in the case of ressentiment implies a specific awareness of and sensibility for instances of inequality, grudge, or disfavour. Ressentiment thus becomes a perceptual tool in morally relevant everyday situations. The term ‘posture’ refers to a habitualised, embodied comportment or action tendency that leads to the adoption of a negative attitude and stance towards others. Drawing on Withy, we discuss ressentiment’s similarities (and differences) to the closely related concept of hatred (Szanto, Vendrell Ferran) to embed the analysis of ressentiment in a broader social framework. (shrink)

Moods are usually taken to be pre-intentional affective states that tune our experience and cognition. Moreover, moods are sometimes considered to not only accompany cognitive acts, but to be understanding phenomena themselves. The following paper examines the assumption that moods represent a specific interpretative skill. Based upon that view, the semantic content of moods seems to be self-determining and to elude conceptual articulation. By contrast, I defend the thesis that the alleged inarticulable intelligibility of affective experiences is possible only due (...) to its belonging to a comprehensive theoretical horizon. For that purpose, I first analyze Heidegger’s influential account on moods in Being and Time, in order to clarify his claim that moods have their own understanding. Although Heidegger asserts that attuned understanding becomes itself when it is interpreted, he nevertheless rejects conceptual unfolding as a legitimate disclosure of the intelligible content of moods. I amend Heidegger’s account by engaging Hegel’s approach to this topic in his Philosophy of Mind. In this text, Hegel argues that feelings cannot give an account of their purport by feeling alone. Affective states not only manifest the need and urge to express themselves, but they reach their full extent when their meaning is disclosed within the entirety of the mind. It may be the case that affective states cannot always be fully clarified, but, even within a non-cognitivist account of moods, their intelligibility requires our acquaintance with articulated understanding. (shrink)

The purpose of this paper is three-fold: first, to argue that Martin Heidegger’s account of Dasein’s state-of-mind has implications for a Heideggarian understanding of social atmosphere or “mood,” itself understood as the domain in which we realize our meaningful attachment to the world; second, to link Heidegger’s account of Dasein to sociologist Arlie Hochschild’s analysis of affective labour in order to underscore Hochschild’s critique of affective labour by showing it to occur at the very site of our free and meaningful (...) involvement in the world; third, to demonstrate the relevance of Heidegger’s analysis to concrete sociological analysis. I begin by arguing that Heidegger’s existential account of affective life reveals affective life as: an accomplished attachment to worldly specificities, grounded on socially constituted significance, and our responsibility. Second, showing Hochschild’s account of emotions to be compatible with Heidegger’s work, I consider Hochschild’s analysis of airline stewardesses, clarifying how the affective lives of individuals and the shared, public dimension of affective life are both undermined by affective labour, specifically in terms of the way that communicative interactions are manipulated in commercial settings. Resulting from the manipulation of affective life by companies are various challenges to our freedom: an inability to find meaningful projects; a lack of substantial measures in terms of which to choose our projects; and the inability to recognize such choices as constitutive of affective life and as our responsibility. Connecting these consequences to the three aspects of affective life noted above, it is concluded that affective labour threatens the inherently social character of freedom and also suppresses and inhibits the existential involvement in the world through which we realize meaningfully our freedom. (shrink)

Involvement in sport and exercise not only provides participants with health benefits but can be an important aspect of living a meaningful life. The COVID-19 pandemic and the temporary cessation of public life in March/April/May 2020 came with restrictions, which probably also made it difficult, if not impossible, to participate in certain types of sport or exercise. Following the philosophical position that different types of sport and exercise offer different ways of “relating to the world,” this study explored continuity in (...) the type of sport and exercise people practiced during the pandemic-related lockdown, and possible effects on mood. Data from a survey of 601 adult exercisers, collected shortly after the COVID-19 outbreak in Finland, were analyzed. Approximately one third of the participants changed their “worldmaking” and shifted to “I–Nature”-type activities. We observed worse mood during the pandemic in those who shifted from “I–Me,” compared to those who had preferred the “I–Nature” relation already before the pandemic and thus experienced continuity. The clouded mood of those experiencing discontinuity may be the result of a temporary loss of “feeling at home” in their new exercise life-world. However, further empirical investigation must follow, because the observed effect sizes were small. (shrink)

In this paper, we pay attention to the impact on staff of what was a new place, Ko Awatea, within a large New Zealand hospital. The place became a space from within which a particular mood arose. This paper seeks to capture that mood and its impact. Using a Heideggerian hermeneutic approach, the study reported on drew on data from interviews with 20 staff. Philosophical notions about the nature and mood of place/space are explored. As staff claimed this space, the (...) mood that emerged was of liveliness, buzz and comfort. It became a space where people wanted to be, where they met others, where conversations unfolded, where thinking happened in new ways. Staff places tend to be sacrificed or poorly resourced in resource-tight environments. We argue that creating a space that feels home-like, where staff come, linger and engage in community is a priority for generating the mood and thinking of an organization. Such spaces do not happen by chance; it takes forethought and intentionality. The gift of such space is the thinking that is sparked and grown. (shrink)

This article is a Heideggerian inquiry into the possibility of ontological experience, that is, the possibility of experiencing the ontological difference, something wholly distinct from beings. Heidegger, as we know, articulated this as the question of Being. It is a paradoxical question that cannot, at first sight, be answered phenomenologically : if any conscious experience presupposes the constitution of an intentional object in the act of experience, there must be something in any experience. In this article, I set out to (...) defend the position that ontological experience is possible and central to the human existence. This view rests on the Heideggerian notion of the affective grounds of all thinking, the attunement of any experience by moods. I will argue that: 1) any thinking is attuned by moods; 2) ontological experience occurs in certain negative moods. 3) ontological experience is possible only through failure, a malfunction in the fulfilment of meaning; 4) ontological experience is possible in art rather than in science. (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)