A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

In Film, Art and the Third Culture, Murray Smith articulates and defends a naturalized aesthetics of film that exemplifies a “third culture,” integrating the insights and methods of the natural sciences with those of the arts and humanities. By contrast with skeptics who reject the relevance of psychology or neuroscience to the study of film and art, I agree with Smith that we should embrace the third-cultural project. However, I argue that Smith does not go far enough in in developing (...) this project. In defending the contribution of the natural sciences to film aesthetics as traditionally conceived in the arts and humanities, Smith focuses on only one side of the equation, unduly limiting the potential contribution of the arts and humanities to the scientific study of film. Using the example of emotional responses to fiction film, I propose that we adopt a more genuinely integrative approach. (shrink)

This article uses Carl Plantinga’s and Noël Carroll’s theorizations regarding cinematic disgust to analyze Carl Franklin’s 1995 film noir, Devil in a Blue Dress. Plantinga argues for a link between disgust and ideology that helps to reveal deeper cultural significance in film, which Carroll’s work likewise supports. Plantinga further argues that disgust in art may be strangely attractive as well as repulsive, thereby eliciting reflection. I argue that combining these elements with philosopher Kwame Anthony Appiah’s explanation of how moral revolutions (...) happen by means of honor codes helps to clarify not only viewer sympathy and solidarity for this film’s African-American protagonist, but also viewer moral disgust at another important white character’s racism. In particular, the film encourages its more thoughtful white viewers to reconsider as well as potentially change their affective responses, ideological predispositions, and habits of perception and attention regarding race, thereby facilitating fundamental moral change and even the possibility of moral revolution. (shrink)

In this thesis, I consider the dialectic surrounding the Puzzle of Musical Tragedy i.e. why do people listen to sad music that makes them sad? I agree with Sizer that the best solutions to this puzzle construe the listening experience itself as pleasant. However, against Sizer, I argue that the feelings music induces are best construed as emotions, not moods. Since sad music can promote the perception of a sad person, I argue that music can be an unconscious object of (...) one’s sad feelings. This suggests that sadness – not sad mood – best characterizes the experience of listening to sad music. Further, I argue that Sizer neglects the influence of a pleasant emotion induced by sad music that explains why listening to sad music is pleasant: Being Moved. I conclude that Sizer offers a counterproductive characterization of the Puzzle of Musical Tragedy. (shrink)

This article deals with the feeling of strangeness in the human being. When it comes to being human, it is traditionally understood as beings containing reasons and emotions. Thus, to better understand the feeling of the foreigner, its context is analyzed on the perspective of humean moral sentimentalism and on the intertwining, proposed by Husserl, between the intellectual and affective spheres. From these philosophers one can see the convergence between the intellectual and affective spheres, as well as between reason and (...) emotion. Therefore, contemporary emotional theories bring an explanatory gain for understanding the feeling of the foreigner in the face of new environments and cultures, as both cognitive and non-cognitive elements are perceived. Therefore, Goldie and Husserl contribute to the analysis of the foreigner's feeling of strangeness in its various peculiarities. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with the expectation-based arousal (...) mechanism proposed by Leonard Meyer. This account connects musical expressivity and arousal in a way that formalists have rejected, but I argue that it provides the best explanation of our observations of listener responses while also focusing on the music itself. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

This article gives a short presentation of reflexive imperativism, the intentionalist theory of valence I developed with Max Khan Hayward. The theory says that mental states have valence in virtue of having reflexive imperative content. More precisely, mental states have positive valence (i.e., feel good) in virtue of issuing the command "More of me!", and they have negative valence (i.e., feel bad) in virtue of issuing the command "Less of me!" The article summarises the main arguments in favour of reflexive (...) imperativism and against other intentionalist treatments of valence. (shrink)

Melancholy is a central expressive property of the Before films and key to understanding and appreciating the trilogy as a whole. That, in a nutshell, is the thesis I develop in this paper. In the first section, I present a philosophical account of melancholy in general and aesthetic melancholy in particular. Melancholy is understood here as the profound and bittersweet emotional experience that occurs when we vividly grasp a harsh truth about human existence in such a way that we come (...) to appreciate certain aspects of life more deeply. The second section of the paper focuses on the many intense as well as more subtle moments of melancholy in the various encounters between Celine and Jesse. These moments, I argue, are partly prompted by the environment and the circumstances in which they find themselves. But both of them also actively seek out and create such moments by the stories they tell and the reflections they engage in. That seems part of who they are as individuals and, I contend, it may be part of what attracts them to each other. In the third section, I address ‘film expression’, as opposed to ‘character expression’, and argue that melancholy is not just present in the characters’ dialogue and in their facial and bodily expressions but is also expressed through various cinematic means. The final section centres on the audience and the reception of the Before trilogy. I introduce the distinction between expression and expressiveness and suggest that the films may have resonated deeply with some viewers because they are so expressive of melancholy. (shrink)

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. Restricting (...) the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

The paradox of fiction tackles how we can be considered as rational while having emotions towards fictional and thus non-existing events. I aim to show that the different philosophical positions on this issue can be reconciled within the emotion regulation framework. This approach refines the concept of emotion, defining it as a sequence of distinct regulated processes. I argue that the philosophical solutions that have been proposed to solve the paradox can be framed as different regulation mechanisms occuring at each (...) stage of the emotion sequence. Based on these results, I propose an original and unifying solution to the paradox of fiction which relies on the notion of quasi-belief. On one hand, this solution solves the paradox of fiction through rejecting each proposition of the paradox at different stages of the emotion process. On the other hand, it explains through the notion of rational appraisal why the question of the existence of emotions towards fictional events is bound to the question of their rationality. The functional roles of emotion towards fictional events are thus discussed, showing how rationality shapes emotions towards fictional events. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...) particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

This is a 2020 revision of my 1988 dissertation "The Choreography of the Soul" with a new Foreword, a new Conclusion, a substantially revised Preface and Introduction, and many improvements to the body of the work. However, the thesis remains the same. A theory of consciousness and trance states--including psychedelic experience--is developed. Consciousness can be analyzed into two distinct but generally interrelated systems, which I call System X and System Y. System X is the emotional-visceral-kinaesthetic body. System X is a (...) harmonic system of "endokinetic" (internal bodily) and "ectokinetic" (emotionally expressive) movement. System Y is a "teleokinetic" (goal directed) system that includes language, cognition, perception, voluntary motor control, manipulation of the environment, etc. Contrary to theories of consciousness prevalent in the Western philosophical traditions that begin with Plato, I argue that System Y is secondary to and dependent upon System X, not the reverse. In building my thesis I draw upon the work of Friedrich Nietzsche, psychoanalysis, Jungian depth psychology, political anthropology, modern neuroscience, Pythagorean music theory, and the mathematical theory of harmonic systems. (shrink)

This volume provides a broad overview of issues in the philosophy of behavioral biology, covering four main themes: genetic, developmental, evolutionary, and neurobiological explanations of behavior. It is both interdisciplinary and empirically informed in its approach, addressing philosophical issues that arise from recent scientific findings in biological research on human and non-human animal behavior. Accordingly, it includes papers by professional philosophers and philosophers of science, as well as practicing scientists. Much of the work in this volume builds on presentations given (...) at the international conference, “Biological Explanations of Behavior: Philosophical Perspectives”, held in 2008 at the Leibniz Universität Hannover in Germany. The volume is intended to be of interest to a broad range of audiences, which includes philosophers (e.g., philosophers of mind, philosophers of biology, and metaethicists), as well as practicing scientists, such as biologists or psychologists whose interests relate to biological explanations of behavior. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)

Caffeine makes you sexy! This absurd slogan can be seen in the shop windows of a popular Brussels coffee chain – its bold pink lettering indicating how they are mainly targeting female customers. It is one of the silliest examples of something that is both very common and very worrisome nowadays, namely, the constant call on women to look ‘hot’ and conform to the standards of sexiness as they are projected in the media, entertainment industry, and advertising. But what exactly (...) is wrong with this state of affairs and what can be done about it? In a recent essay Sheila Lintott and Sherri Irvin take up this issue and make an elaborate case for what they call a ‘feminist reclamation’ of sexiness. This chapter investigates the merits and shortcomings of their proposal, presents an alternative account, and considers how pornography may be part of the problem but also part of the solution in this matter. (shrink)

Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of (...) the sorts of emotion music is taken to arouse, a given emotion will qualify as artistically relevant if and only if it is caused by appropriate listening, it is dependent on features of the piece of music as a work of art and is capable of further directing our attention to such features. (shrink)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...) aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

A number of philosophers, going back at least to Kierkegaard, argue that to have faith in something is, in part, to have a passion for that thing—to possess a lasting, formative disposition to feel certain positive patterns of emotion towards the object of faith. I propose that (at least some of) the intellectual dimensions of faith can be modeled in much the same way. Having faith in a person involves taking a certain perspective towards the object of faith—in possessing a (...) lasting, formative disposition for things to seem as though the object of faith is worthy of one’s trust. After developing the view, I briefly discuss its epistemic implications. I suggest that, by systematically reorienting how one experiences the world, faith can actually change one’s total body of evidence (or perhaps even how one weighs that evidence), thereby altering what one is justified in believing about the object of faith. (shrink)

I argue that while the feeling of bodily responses is not necessary to emotion, these feelings contribute significant meaningful content to everyday emotional experience. Emotional bodily feelings represent a ‘state of self’, analysed as a sense of one's body affording certain patterns of interaction with the environment. Recognising that there are two sources of intentional content in everyday emotional experience allows us to reconcile the diverging intuitions that people have about emotional states, and to understand better the long-standing debate between (...) bodily feeling-based and appraisal-based theories of emotion. (shrink)

O artigo parte do consenso sobre a facto de que a arte tem valor para a exploração dos vários problemas sobre esse valor cujas soluções dividem os filósofos da arte. O enfoque é especialmente sobre a dimensão mais actual do debate em torno do tema, que se debruça não tanto sobre questões como o realismo quanto aos valores estéticos e a objectividade e justificação dos juízos de valor estético, mas acima de tudo sobre a natureza do valor artístico – que (...) tipo de valor é e em que propriedades da arte (se nalguma) reside. (shrink)

Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both questions are more plausible than (...) it might seem at first. (shrink)

The Emotion Ontology is an ontology covering all aspects of emotional and affective mental functioning. It is being developed following the principles of the OBO Foundry and Ontological Realism. This means that in compiling the ontology, we emphasize the importance of the nature of the entities in reality that the ontology is describing. One of the ways in which realism-based ontologies are being successfully used within biomedical science is in the annotation of scientific research results in publicly available databases. Such (...) annotation enables several objectives, including searching, browsing and cross-database data integration. A key benefit conferred by realismbased ontology is that suitably annotated research results are able to be aggregated and compared in a fashion that is based on the underlying reality that the science is studying. This has the potential of increasing the power of statistical analysis and meta-analysis in data-driven science. This aspect has been fruitfully exploited in the investigation of the functions of genes in molecular biology. Cognitive neuroscience uses functional neuroimaging to investigate the brain correlates of areas of mental functioning such as memory, planning and emotion. The use of functional neuroimaging to study affective phenomena such as the emotions is called ‘affective neuroscience’. BrainMap is the largest curated database of coordinates and metadata for studies in cognitive neuroscience, including affective neuroscience (Laird et al., 2005). BrainMap data is already classified and indexed using a terminology for classification, called the ‘Cognitive Paradigm Ontology’ (CogPO), that has been developed to facilitate searching and browsing. However, CogPO has been developed specifically for the BrainMap database, and the data are thus far not annotated to a realism-based ontology which would allow the discovery of interrelationships between research results across different databases on the basis of what the research is about. In this contribution, we describe ongoing work that aims to annotate affective neuroscience data, starting with the BrainMap database, using the Emotion Ontology. We describe our objectives and technical approach to the annotation, and mention some of the challenges. (shrink)

Ever since Freud pioneered the “talking cure,” psychologists of various stripes have explored how autobiographical narrative bears on self-understanding and psychic wellbeing. Recently, there has been a wave of philosophical speculation as to whether autobiographical narrative plays an essential or important role in the constitution of agentic selves. However, embodiment has received little attention from philosophers who defend some version of the narrative self. Catriona Mackenzie is an important exception to this pattern of neglect, and this paper explores Mackenzie’s work (...) on embodiment and self-narrative with the aim of better understanding the adequacy of autobiographical narrative as an account of the agentic self. I argue that Mackenzie’s narrative account of embodied subjectivity and agency is incomplete, for it over-estimates the reach of narrative and underestimates the cognitive and agentic powers of the lived body. (shrink)

This paper argues that potential cases of oppression, such as sex trafficking, can sometimes comprise autonomous choices by the trafficked individuals. This issue still divides radical from liberal feminists, with the former wanting to ‘rescue’ the ‘victims’ and the latter insisting that there might be good reasons for ‘hiding from the rescuers.’ This article presents new arguments for the liberal approach and raises two demands: first, help organizations should be run by affected women and be open-minded about whether or not (...) the trafficked individuals should remain in the sex industry. Second, the career choices of trafficked individuals should be expanded by the introduction of an opportunity-extending right to asylum. (shrink)

It seems better to love virtue than vice, pleasure than pain, good than evil. Perhaps it's also better to love virtuous people than vicious people. But at the same time, it's repugnant to suggest that a mother should love her smarter, more athletic, better looking son than his dim, clumsy, ordinary brother. My task is to help sort out the conflicting intuitions about what we should love. In particular, I want to address a problem for the no-reasons view, the theory (...) that love cannot be rationally justified. Since it seems better to love good people rather than evil villains, it appears that there are indeed reasons for (or, at least, against) love. Is it coherent to talk this way and deny that love can be justified? I think so and will explain how. (shrink)

Drawing on research in narrative theory and literary aesthetics, text and discourse processing, phenomenology and the experimental cognitive sciences, this paper outlines an embodied theory of presence in the reading of literary narrative. Contrary to common assumptions, it is argued that there is no straightforward relation between the degree of detail in spatial description on one hand, and the vividness of spatial imagery and presence on the other. It is also argued that presence arises from a first-person, enactive process of (...) sensorimotor simulation/ resonance, rather than from mere visualizing from the perspective of a passive, third-person observer. In sections 1 to 3, an inter-theoretical argument is presented, proposing that presence may be effectively cued by explicit references to object -directed bodily movement. In section 4, an attempt is made at explaining which ways of embedding such references in the narrative may be particularly productive at eliciting presence. (shrink)

Many think that love would be a casualty of free will skepticism. I disagree. I argue that love would be largely unaffected if we came to deny free will, not simply because we cannot shake the attitude, but because love is not chosen, nor do we want it to be. Here, I am not alone; others have reached similar conclusions. But a few important distinctions have been overlooked. Even if hard incompatibilism is true, not all love is equal. Although we (...) have only minimal control over love, it can be more or less authentic. I develop my position by considering the fictional trope of love potions and the implications of a futuristic psychotropic, Lovezac—Viagra for the heart. But I am not as optimistic as some. Even though free will skepticism would not jeopardize love-the-feeling, there are reasons to think that loving relationships might not be immune. (shrink)

A longstanding problem with the study of empathy is the lack of a clear and agreed upon definition. A trend in the recent literature is to respond to this problem by advancing a broad and all-encompassing view of empathy that applies to myriad processes ranging from mimicry and imitation to high-level perspective taking. I argue that this response takes us in the wrong direction and that what we need in order to better understand empathy is a narrower conceptualization, not a (...) broader one. I propose that empathy be conceptualized as a complex, imaginative process through which an observer simulates another person's situated psychological states while maintaining clear self–other differentiation. I defend my view through an examination of three processes: emotional contagion, a process of self-oriented perspective taking that I call “pseudo-empathy,” and empathy proper. Drawing on recent findings in social neuroscience, I highlight the differences among these processes and discuss conceptual, empirical, and normative reasons for keeping them theoretically and conceptually distinct. (shrink)

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...) and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

In both psychology and philosophy, cognitive theories of emotion have met with increasing opposition in recent years. However, this apparent controversy is not so much a gridlock between antithetical stances as a critical debate in which each side is being forced to qualify its position in order to accommodate the other side of the story. Here, I attempt to sort out some of the disagreements between cognitivism and its rivals, adjudicating some disputes while showing that others are merely superficial. Looking (...) at evidence from neuroscience and social psychology, as well as thought experiments and theoretical arguments, I conclude that it is necessary to acknowledge both that emotions have intentional content and that they involve somatic agitation. I also point out some of the more promising directions for future research in this area. (shrink)

This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.

Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don’t believe that (...) Anna Karenina exists, can I really pity her, or hope or desire that she extricate herself from her tragic situation? And why is there no “morality fiction,” analogous to science fiction? I suspect that philosophers have been especially comfortable thinking about fiction because it seems, at least prima facie, to employ the imagination in a way that conforms to a standard model of the mind. Specifically, contemporary philosophers tend to think of imagination as a form of mental pretense. Mental pretense can take two main forms: a cognitive attitude of supposing a set of propositions to be true (make-believe) or else an experiential state of imaging a scenario as if it were before one (imaging). Much of our pretense intertwines the cognitive and experiential modalities, of course. But both share a crucial common feature: all of one’s imaginative effort is invested in pretending that certain contents obtain. In this sense, we can understand imagination as the “offline” simulation of actual beliefs and perceptions (and perhaps other attitudes as well), where we analyze these in the normal way, as states individuated by their attitude and representational content. While I share the burgeoning interest in fiction, I want to suggest that we also have a lot to learn from poetry, and in particular from poetic metaphor. I will argue.. (shrink)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

The relationship between fear and courage has been discussed in terms of opposite though mutually involving notions. However, their link has not been inquired extensively. Recently, new light has been shed on the topic thanks to recent empirical evidence within emotion theories that stress the role played by perception and/or cognition in the experience of fear, as well as the role played by the “emotional virtue” of courage in fear regulation. Questions arise whether fear has a fundamentally perceptual structure or (...) is a biologically-grounded natural kind, and whether such an emotion-related virtue as courage is intrinsically or extrinsically related to fear. This paper considers the last problem first, then enlarges the picture to fear modeling, finally drives some conclusions which aim at deepening the relationship between fear and courage. As a result, it emerges that the emotion of fear has a conceptual, emotional, situational and subjective dimension. Assuming fear as a possible emotional center within the subject’s cognitive experience, the virtue of courage appears to balance the excess and lack of fear, and is consequently related to rational thoughts and consistent behavior, laying the foundations for a new Aristotelian-Thomistic account for it. (shrink)

Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...) art appreciation. Here, we argue that a systematic neuroscientific study of art appreciation must move beyond understanding aesthetics alone, and toward investigating the social importance of art appreciation. We make our argument for such a shift in focus first, by situating art appreciation as an active social practice. We follow by reviewing the available psychological and cognitive neuroscientific evidence that art appreciation cultivates socio-epistemic skills such as self- and other-understanding, and discuss philosophical frameworks which suggest a more comprehensive empirical investigation. Finally, we argue that focusing on the socio-epistemic values of art engagement highlights the important role art plays in our lives. Empirical research on art appreciation can thus be used to show that engagement with art has specific social and personal value, the cultivation of which is important to us as individuals, and as communities. (shrink)

This article argues against two theories that obscure our understanding of emotions whose objects are other emotions. The tripartite model of emotional intentionality holds that an emotion's relation to its object is necessarily mediated by an additional representational state; I argue that metaemotions are an exception to this claim. The hierarchical model positions metaemotions as stable, epistemically privileged higher-order appraisals of lower-level emotions; I argue that this clashes with various features of complex metaemotional experiences. The article therefore serves dual purposes, (...) offering metaemotions as a counterexample to an intuitive thesis about emotional intentionality, and examining their intentional structure in its own right. (shrink)

I offer a preliminary defense of the hypothesis of extended emotions (HEE). After discussing some taxonomic considerations, I specify two ways of parsing HEE: the hypothesis of bodily extended emotions (HEBE), and the hypothesis of environmentally extended emotions (HEEE). I argue that, while both HEBE and HEEE are empirically plausible, only HEEE covers instances of genuinely extended emotions. After introducing some further distinctions, I support one form of HEEE by appealing to different streams of empirical research—particularly work on music and (...) emotion regulation. However, I register skepticism about a second and more radical form of HEEE. (shrink)

Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse existential commitments (...) of several leading theories of emotion, and argue that none of the theories we consider are committed to notions of ‘exist’ employed by the paradox. We conclude that it is unclear whether or not there remains a paradox of fiction to be solved—rather than to be argued for—once this ambiguity is addressed. (shrink)

This paper addresses the relationship between psychological capacities, as they are understood within cognitive psychology, and neurobiological activities. First, Lycan’s (1987) account of this relationship is examined and certain problems with his account are explained. According to Lycan, psychological capacities occupy a higher level than neurobiological activities in a hierarchy of levels of nature, and psychological entities can be decomposed into neurobiological entities. After discussing some problems with Lycan’s account, a similar, more recent account built around levels of mechanisms is (...) examined (Craver 2007). In the second half of this paper, an alternative is laid out. This new account uses levels of organization and levels of explanation to create a two-dimensional model. Psychological capacities occupy a high level of explanation relative to the cellular and molecular levels of organization. As a result, according to this model, psychological capacities are a particular way of describing the activities that occur at the cellular and molecular levels of organization. (shrink)

Richard Rorty holds that the novel is the characteristic genre of democracy, because it helps people to develop and to stabilize two crucial capabilities the ideal inhabitants of democratic societies should possess: a keen sense for anti-foundationalism and a disposition for solidarity. He believes that novels help develop these capabilities by educating our capacity for criticism and our capacity for attentive-empathetic perception. This article argues in favor of this Rortyan idea, showing how anti-foundationalism and solidarity can be seen as important (...) instances of what I will call 'dispositions for democratic citizenship' and that art (and not only novels) and its reception, are valuable tools for advancing these dispositions. However, as the Rortyan public-private dichotomy assigns art’s function of criticism only to the private sphere, Rorty ignores its potential for stimulating democratic public deliberation and he misses the fact that art’s functions of criticism and of attentive-empathetic perception partially depend on each other if they are effectively to lead to increased solidarity and change social realities. Thus this article argues—taking these objections into account—to slightly modify, but nevertheless value Rorty’s idea that art and its reception are crucial resources for democratic citizenship and for the process of democratic deliberation. (shrink)

In Beauty and Revolution in Science, James McAllister advances a rationalistic picture of science in which scientific progress is explained in terms of aesthetic evaluations of scientific theories. Here I present a new model of aesthetic evaluations by revising McAllister’s core idea of the aesthetic induction. I point out that the aesthetic induction suffers from anomalies and theoretical inconsistencies and propose a model free from such problems. The new model is based, on the one hand, on McAllister’s original model and (...) on further developments by Theo Kuipers in his “Beauty, a Road to the Truth?”. On the other hand, it is based on empirical findings about affection and emotion, and a naturalistic aesthetic theory. The new model is thus a naturalistic model with a wider explanatory range and much more internal consistency that McAllister’s. (shrink)

According to folk psychology, instrumental music regularly elicits emotions in listeners. Philosophers and psychologists such as Kivy, Konecni and Zangwill have questioned the existence of these musically elicited emotions, arguing that instrumental music elicits moods or aesthetic judgments rather than emotions. I defend the folk psychological position against these skeptics. The first chapter sets up the debate surrounding musically elicited emotions, while chapters two and three defend the thesis that instrumental music elicits emotions against the critics’ arguments. Chapter four outlines (...) the implications of this defense for a variety of fields. (shrink)