Are there limits to what it is morally okay to imagine? More particularly, is imaginatively inhabiting morally suspect perspectives something that is off-limits for truly virtuous people? In this paper, I investigate the surprisingly fraught relation between virtue and a familiar form of imaginative perspective taking I call empathy. I draw out a puzzle about the relation between empathy and virtuousness. First, I present an argument to the effect that empathy with vicious attitudes is not, in fact, something that the (...) fully virtuous person can indulge in. At least one prominent way of thinking about the psychology of the virtuous person excludes the possibility that the virtuous could emotionally apprehend the world in a less than virtuous way, and empathizing with vicious outlooks does seem to run afoul of that restriction. Then, I develop an argument that runs in the contrary direction: virtue in fact requires empathy with vicious outlooks, at least in some situations. There is reason to think that a crucial part of being virtuous is ministering effectively to others’ needs, and there is also reason to think that other people may need to be empathized with, even if their emotional outlooks are at least minorly vicious. Finally, I outline two different solutions to this puzzle. Both solutions hold some promise, but they also bring new challenges in their train. (shrink)

Expanding the debate about empathy with human beings, animals, or fictional characters to include human-robot relationships, this paper proposes two different perspectives from which to assess the scope and limits of empathy with robots: the first is epistemological, while the second is normative. The epistemological approach helps us to clarify whether we can empathize with artificial intelligence or, more precisely, with social robots. The main puzzle here concerns, among other things, exactly what it is that we empathize with if robots (...) do not have emotions or beliefs, since they do not have a consciousness in an elaborate sense. However, by comparing robots with fictional characters, the paper shows that we can still empathize with robots and that many of the existing accounts of empathy and mindreading are compatible with such a view. By so doing, the paper focuses on the significance of perspective-taking and claims that we also ascribe to robots something like a perspectival experience. The normative approach examines the moral impact of empathizing with robots. In this regard, the paper critically discusses three possible responses: strategic, anti-barbarizational, and pragmatist. The latter position is defended by stressing that we are increasingly compelled to interact with robots in a shared world and that to take robots into our moral consideration should be seen as an integral part of our self- and other-understanding. (shrink)

Good actors appear to become their characters, making them come alive, as if they were real. Is this because they have succeeded in merging themselves with their character? Are there any positive or negative psychological effects of this experience? We examined the role of three characteristics that may make this kind of merging possible: dissociation, flow, and empathy. We also examined the relation of these characteristics to acting quality. Acting students and non-acting students completed a dissociation measure, and then performed (...) a monologue that was recorded and rated on the dimensions of acting. Participants were then reassessed on dissociation to determine whether it increased as a function of performance. They were also then assessed on flow and empathy. Actors did not differ from non-actors on dissociation, but did score significantly higher than non-actors on some flow and empathy subscales, indicating a positive psychological experience and outcome. While non-actors’ dissociation marginally increased post-performance, actors’ dissociation rose significantly, which could indicate a negative psychological experience. Surprisingly, acting ratings were unrelated to the levels of dissociation, flow, or empathy. We concluded that, while these are tools used by actors to immerse themselves fully in their characters, they may not be necessary to create the illusion of an imaginary character come to life on stage. (shrink)

We explore the nature of expert minds in skilled performance by examining classic Japanese dramatist Zeami’s account of skilled expertise in Noh drama. Zeami characterizes expert minds by the co-existence of mushin and riken no ken. Mushin is an empty state of mind devoid of mental contents. Riken no ken is a distinctive form of self-awareness, where the actor embodies a common perspective with the audience upon one’s own performance. Conventional accounts of riken no ken present it as a form (...) of imagination: expert actors deliver their performance by imagining what it looks like from an external point of view. These imagination-based accounts, however, do not square well with the claim that riken no ken co-exists with mushin. We propose an alternative perception-based account that better accounts for this co-existence, drawing on the concept of “situated normativity” from embodied-ecological theories of cognition. The situated normativity account characterizes riken no ken as a form of “direct affective perception” in which actors are aware of their performance’s quality of attunement with the performative situation. Expert Noh actors realise a common perspective with the audience not by imagining an external point of view, but by perceiving the situation that encompasses their own performance from an aesthetic perspective cultivated and shared within the Noh community. (shrink)

An increasingly popular objection to anti-intellectualism about know-how is that there are clear cases where an agent having the dispositional ability to φ does not suffice for her knowing how to φ. Recently, Adam Carter has argued that anti-intellectualism can only rise to meet this sufficiency objection if it imposes additional constraints on know-how. He develops a revisionary anti-intellectualism, on which knowing how to φ not only entails that the agent possesses a reliable ability to φ, but also that she (...) is equipped with certain kind of intellectual grasp of the method by which she is able to reliably φ. This paper argues that Carter's revisionary know-how does not constitute an improvement over the more standard version of anti-intellectualism. Moreover, it is argued that Carter's additional demands concede too much to the intellectualist, and, as a result, commit his revised anti-intellectualism to familiar problems facing the intellectualist account of know-how. In other words, his attempts to respond to the sufficiency objection constitutes a dangerous compromise to the intellectualist. The paper finishes with a final analysis that suggests, in the end, there are still reasons to prefer standard anti-intellectualism over intellectualism. (shrink)

This paper analyzes the skilled performance of rock climbing through the framework of Embodied and Enacted Cognitive Science. It introduces a notion of enactive planning that is part of one mindful activity of ongoing responsiveness to the affordances of the wall. The paper takes two distinct planning activities involved in rock climbing—route-reading and visualizing—and clarifies them through the enactivist and ecological concepts of nested affordances, prospecting, recalibrating, marking, and corporeal imaginings, as well as Rylean concept of heeding. The paper shows (...) that an enactive approach to planning can make sense of both the planning done in preparation of the climb, and re-planning done during the mindful performance, without invoking additional cognitive architectures. (shrink)

In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired interviews (...) with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself as coupled with the world. Understanding music-making as a pre-eminent case of exploration helps us explicate and appreciate the developmental, sensorimotor, and more advanced cognitive resources that exist in music-making activities. (shrink)

Experiential imagination consists in an imaginative projection that aims at simulating the experiences one would undergo in different circumstances. It has been traditionally thought to play a role in how we build our lives, engage with other agents, and appreciate art. Although some philosophers have recently expressed doubts over the capacity of experiential imagination to offer insight into the perspective of someone other than our present-selves, experiential imagination remains a much sought-after tool. This paper substantiates pessimism about the epistemological value (...) of these uses of experiential imagination by developing an embodied approach. Our thesis is that experiential imagination is _robustly embodied_ because the _sociohistorically situated_ body makes an irreducible contribution to the imaginative project, and that, as such, it is constrained by who we are as _concrete_ agents. We argue that experiential imagination is an embodied, virtual exploration of imagined scenarios that depends on our situated history of sensorimotor and affective interactions. We conclude that experiential imagination is much more limited than commonly acknowledged, as it can hardly be divorced from who we are and where we have been. (shrink)