‘Public moods’ are often referred to in laymen’s accounts of public reactions to social events, yet the concept has rarely been invoked by social scientists. Taking public moods seriously as an analytical concept, this article relies on recent work on the moods of individuals as a means of exploring the moods of the public. To be in a certain mood is to attune oneself to the situation in which one finds oneself. Our mood is the report we give on the (...) state of our attunement. A public mood can either be understood as the mood of a certain age, the mood of an audience which jointly attends to a public performance, or the bonding which takes places between bodies which are in close physical proximity to each other. It is in the public mood that emotions, thoughts and plans for action arise. (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)

There are many more philosophical discussions of emotions than of moods. One key reason for this is that emotions are said to have a robust connection to beliefs while moods are said to lack that connection. I argue that this view, though prevalent, is incorrect. It is motivated by examples that are not representative of how moods typically change. Indeed, once we examine the notion of belief-responsiveness and look at a wider range of examples, we can see that moods are (...) belief-responsive and can be evaluated for appropriateness along a number of dimensions. Moreover, for all cases in which moods seem to be disconnected from beliefs, I argue that there are analogous cases for emotions. In other words, the connection between moods and beliefs on the one hand and the connection between emotions and beliefs on the other are, in fact, very similar. This means that not only should we take belief-responsiveness to be a core feature of moods but also potentially pursue a unified theory for why moods and emotions would have this connection to belief. (shrink)

Thought style and thought collective are two well-known concepts from Ludwik Fleck’s theory of science, which he originally formulated in Polish and German. This paper contends that these two concepts cannot be fully understood without a third—Stimmung/nastrój, which is one of the musical metaphors that play an important role in Fleck’s thinking. Because it is most often translated into English as “mood”, Fleck’s musical metaphors are mostly lost in translation, appearing as mere rhetoric. Only if and when we understand Stimmung/nastrój (...) in the musical meaning of attunement, we can fully understand thought collectives, for which Stimmung/nastrój is sine qua non, and thought style, which appears if and when a collective turns out to be an enduring and not a momentary one. (shrink)

In contrast to mainstream accounts which explain the aesthetic experience of people with autism spectrum disorder (ASD) in terms of cognitive abilities, this paper suggests as an alternative explanation the “emotional abilities approach”. We present an example of a person with ASD who is able to exercise a variety of emotional abilities in aesthetic contexts but who has difficulties exhibiting their equivalents in interpersonal relations. Using an autobiographical account, we demonstrate first that there is at least one precedent where a (...) person with ASD can exercise a series of emotional abilities when engaging with art works. Second, we offer also an explanation about why aesthetic contexts might enable this person to exercise emotional abilities which in interpersonal contexts seem to be blocked. (shrink)

This article provides a conceptual map of the affective terrain while focusing on enduring positive affective attitudes, such as love and happiness. The first section of the article examines the basic characteristics of affective attitudes, i.e., intentionality, feeling, and dispositionality, and classifies the various affective attitudes accordingly. An important distinction in this regard is between acute, extended, and enduring affective attitudes. Then a discussion on the temporality of affective attitudes is presented. The second section discusses major mechanisms that enable long-lasting (...) affective attitudes to endure. These mechanisms include, Hedonic adaptation, which reduces affective intensity, thereby enabling adaptation to a stable, average level of affective intensity; Positive mood offset, which maintains a moderate level of positive mood in the absence of adverse stimuli; The enduring mood of being dissatisfied, thereby keeping the agent’s interest high, and Meaningful development, which underlies the continuation and enhancement of the affective attitude. Each of these mechanisms sustains, in its own unique way, the balance required for enduring affective attitudes. The third section applies the above considerations to two major enduring positive affective attitudes: the mood of lasting happiness and the enduring emotion of profound romantic love. Time is typically a necessary condition for the creation and enhancement of such love. However, it is not a sufficient condition. So only in some cases, but not in all, does loving longer mean loving more. (shrink)