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)

Many great authors claim that reading literature can expand your phenomenal imagination and allow you to imagine experiences you have never had. How is this possible? Your phenomenal imagination is constrained by your phenomenal concepts, which are in turn constrained by the phenomenology of your own actual past experiences. Literature could expand your phenomenal imagination, then, by giving you new phenomenal concepts. This paper explains how this can happen. Literature can direct your attention to previously unnoticed phenomenal properties of your (...) own past experiences, as brought to mind by involuntary memory. This process gives you the opportunity to notice those phenomenal properties for the first time, and so also to form phenomenal concepts of those properties. Forming a new phenomenal concept strictly expands the range of your phenomenal imagination. It gives you the capacity to imagine more than you could have before, including certain specific kinds of experience that you yourself have never enjoyed firsthand. Literature’s capacity to expand your phenomenal imagination in this way is central to its social, moral, and epistemic value. (shrink)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)