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Switch to: References
Citations of:
Acting Oneself as Another: An Actor’s Empathy for her Character
Topoi 39 (4):779-790 (2020)
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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 (...) |
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This paper presents a new, third-personal account of empathy that characterizes empathy as being sensitive to others’ concerns as opposed to remaining stuck in one’s egocentric perspective on the world. The paper also demonstrates why this account is preferable to its two main rivals, namely the simulation theory of empathy, and the direct perception theory of empathy. |
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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 (...) |
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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 (...) |
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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 (...) |
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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 (...) |
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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 (...) |
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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 (...) |
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