Авторами розглянуто особливості впливу моральних емоцій з позитивною валентністю на процес прийняття економічними агентами управлінських рішень в ситуаціях соціальних взаємодій. Обґрунтовано, що позитивні моральні емоції мають значення при виборі підприємцями моделі соціально-економічної поведінки, що дає змогу за допомогою механізмів винагороди та взаємності заохочувати та підтримувати реалізацію моральних та інших соціальних норм. Встановлено, що очікування появи емоції подяки або захоплення в оточуючих, і навіть переживання самим індивідом емоції шляхетності впливає на процес прийняття рішень в контексті того, що позитивні емоції часто призводять (...) до збільшення вигоди економічних агентів і пов'язані з рівнем їхнього добробуту. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, (...) with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

This introductory chapter provides an overview of the chapters making up the book, which are grouped into six sections: challenges and alternatives to the causal theory of memory; activity and passivity in remembering; the affective dimension of memory; memory in groups; memory failures: concepts and ethical implications; and the content and phenomenology of episodic and semantic memory.

Drawing from empirical literature on ecological psychology, affective neuroscience, and philosophy of mind, this article describes a model of affect-as-motivation in the intentional bond between organism and environment. An epistemological justification for the motivating role of emotions is provided through articulating the perceptual context of emotions as embodied, situated, and functional, and positing perceptual salience as a biasing signal in an affordance competition model. The motivational role of affect is pragmatically integrated into discussions of action selection in the neurosciences.

Розглянуто характер впливу негативних моральних емоцій гніву та відрази на процес прийняття фінансово-економічних рішень в переговорних процесах і співпраці в умовах ризику і невизначеності. Обґрунтовано стимулюючий характер прямого впливу негативних моральних емоцій гніву та відрази на прийняття економічними агентами стратегічної соціально прийнятної поведінки. Виявлено потенційні обмеження, що знижують позитивний ефект впливу негативних моральних емоцій гніву та відрази на процес прийняття фінансово-економічних рішень в ситуаціях соціальних дилем.

This article proposes a phenomenological interpretation of nostalgia for communism, a collective feeling expressed typically in most Eastern European countries after the official fall of the communist regimes. While nostalgia for communism may seem like a paradoxical feeling, a sort of Stockholm syndrome at a collective level, this article proposes a different angle of interpretation: nostalgia for communism has nothing to do with communism as such, it is not essentially a political statement, nor the signal of a deep value tension (...) between governance and the people. Rather, I propose to understand this collective feeling as the symptom of a deeper need at a national level for solidarity and ultimately about recapturing a common feeling of identity in solidarity. This hypothesis would be in line with a phenomenological approach to memory as a process of establishing shared codes by rewriting the past in such a way as to strengthen social bonds and make possible a reimagining of a common future. Nostalgia for communism does not need to be ultimately an uncritical stance as it has been depicted, instead one could interpret it as a form of critical reflexion about our current forms of life. Instead of seeing communism nostalgia as a specific form of being stuck in the past, one could explore its potential for pointing at the things that are still not working in the current neo-liberal regime. (shrink)

For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional (...) consciousness. In developing this idea, I consider the ‘material’ and ‘worldmaking’ character music, and I apply these considerations to two case studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

In this paper we suggest an understanding of the self within the conceptual framework of situated affectivity, proposing the notion of an affectively extended self and arguing that the construction, diachronic re-shaping and maintenance of the self is mediated first by affective interactions. We initially consider the different variations on the conception of the extended self that have been already proposed in the literature. We then propose our alternative, contextualising it within the current debate on situated affectivity. While the idea (...) that we exploit the external environment in order to manage our affective life is now rather widespread among philosophers, its potential consequences for and connections with the debate on the self remain underexplored. Drawing on James’ intuition of the “material self”, which clearly connects the self and the emotions in agency, and broadly envisioning an extension of the self beyond its organismic boundaries, we propose our pragmatist conception of the self: an affectively extended self that relies on affective artifacts and practices to construct its identity extended beyond skin and skull. (shrink)