This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art—crowned by a pioneer study of hip hop—Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel notion (...) of somaesthetics. (shrink)

"First published in this translation 1955; second edition (revised) 1974; reprinted with additional revisions 1987; reissued with new Further Reading 2003; reissued with new introduction 2007"--T.p. verso.

Published with the assistance of a grant from the National Endowment for the Humanities.

When do people say that they are moved, and does this experience constitute a unique emotion? We review theory and empirical research on being moved across psychology and philosophy. We examine feeling labels, elicitors, valence, bodily sensations, and motivations. We find that the English lexeme being moved typically (but not always) refers to a distinct and potent emotion that results in social bonding; often includes tears, piloerection, chills, or a warm feeling in the chest; and is often described as pleasurable, (...) though sometimes as a mixed emotion. While we conclude that it is a distinct emotion, we also recommend studying it in a more comprehensive emotion framework, instead of using the ambiguous vernacular term being moved as a scientific term. (shrink)

We explore the implications of a hierarchical structure, consisting of the higher order dimensions of nonspecific Positive Activation and Negative Activation and multiple specific negative affects and positive affects at the lower level. Emotional blends of the same valence are an essential part of this structure and form the basis of the higher order Negative and Positive Activation dimensions. Mixed cross-valence emotions are not central to this hierarchical scheme but are compatible with it. We examine the frequency of pure emotional (...) states, same-valence emotional blends, and cross-valence mixed emotions in a large momentary mood sample. (shrink)

We examined disgust and fear responses to spiders in spider-distressed and nondistressed individuals. Undergraduate participants (N = 134) completed questionnaires concerning responses to spiders and other potentially aversive stimuli, as well as measures of disgust sensitivity, anxious arousal, worry, and anhedonic depression. In addition, we obtained self-report and facial expressions of disgust and fear while participants were exposed to a live tarantula. Both spider distressed and nondistressed individuals reported disgust and exhibited disgust facial expressions in response to a tarantula. Disgust (...) in response to spiders was not found to be part of a general disgust response to all negative stimuli, nor was it due to a general negative emotional response to spiders. Emotional responses to spiders were differentially associated with scores on personality and psychological functioning measures. The results of this study provide evidence that spiders have a specific disgust-evoking status in both distressed and nondistressed populations. (shrink)

It is hypothesized that human faces judged to be attractive by people possess two features—averageness and symmetry—that promoted adaptive mate selection in human evolutionary history by way of production of offspring with parasite resistance. Facial composites made by combining individual faces are judged to be attractive, and more attractive than the majority of individual faces. The composites possess both symmetry and averageness of features. Facial averageness may reflect high individual protein heterozygosity and thus an array of proteins to which parasites (...) must adapt. Heterozygosity may be an important defense of long-lived hosts against parasites when it occurs in portions of the genome that do not code for the essential features of complex adaptations. In this case heterozygosity can create a hostile microenvironment for parasites without disrupting adaptation. Facial bilateral symmetry is hypothesized to affect positive beauty judgments because symmetry is a certification of overall phenotypic quality and developmental health, which may be importantly influenced by parasites. Certain secondary sexual traits are influenced by testosterone, a hormone that reduces immunocompetence. Symmetry and size of the secondary sexual traits of the face (e.g., cheek bones) are expected to correlate positively and advertise immunocompetence honestly and therefore to affect positive beauty judgments. Facial attractiveness is predicted to correlate with attractive, nonfacial secondary sexual traits; other predictions from the view that parasite-driven selection led to the evolution of psychological adaptations of human beauty perception are discussed. The view that human physical attractiveness and judgments about human physical attractiveness evolved in the context of parasite-driven selection leads to the hypothesis that both adults and children have a species-typical adaptation to the problem of identifying and favoring healthy individuals and avoiding parasite-susceptible individuals. It is proposed that this adaptation guides human decisions about nepotism and reciprocity in relation to physical attractiveness. (shrink)

ABSTRACTExperiences that contradict one's core concepts elicit intense emotions. Such schema incongruence can elicit awe, wherein experiences that are too vast...

Horror is not the same as fear, and while fear contains an essential action tendency horror does not. And while we can enjoy fear there is no enjoying of horror.

This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics.

Aiming to circumvent metaphor-prone properties of natural language, Chapman, Kim, Susskind, and Anderson (2009) recently reported evidence for morally induced activation of the levator labii region (manifest as an upper lip raise and a nose wrinkle), also implicated in responding to bad tastes and contaminants. Here we point out that the probative value of this type of evidence rests on a particular (and heavily contested) account of facial movements, one which holds them to be “expressions” or automatic read-outs of internal (...) states. We also observe a largely neglected difference between morally induced disgust and moral disgust proper, arguing that data such as Chapman et al.’s (2009) provide evidence only for the former. (shrink)

Wilderness valued as mere resource for human?interest satisfaction is challenged in favor of wilderness as a productive source, in which humans have roots, but which also yields wild neighbors and aliens with intrinsic value. Wild value is storied achievement in an evolutionary ecosystem, with instrumental and intrinsic, organismic and systemic values intermeshed. Survival value is reconsidered in this light. Changing cultural appreciations of values in wilderness can transform and relativize our judgments about appropriate conduct there. A final valued element in (...) wildness is its idiographic historical particularity, and most surprising is the emergence of a novel morality when humans learn to let values go wild. (shrink)

In paragraph 48 of the Critique of Judgment, Immanuel Kant claimed that ‘only one kind of ugliness cannot be represented in accordance with nature without destroying all aesthetic satisfaction, hence artistic beauty, namely that which arouses disgust.’ However, from Baudelaire to Damien Hirst, there have been artists who delight in arousing disgust through their works, and many of these disgusting works, such as Baudelaire's Une Charogne, have high aesthetic merit. In her splendid new book, Savoring Disgust, Carolyn Korsmeyer rejects Kant's (...) suggestion and argues that there is something called ‘aesthetic disgust,’ that is, ‘the arousal of disgust in an audience, a spectator, or a reader, under circumstances where that emotion both apprehends artistic properties and constitutes a component of appreciation.’. (shrink)

Statements about a person's good slip into and out of our ordinary discourse about the world with nary a ripple. Such statements are objects of belief and assertion, they obey the rules of logic, and they are often defended by evidence and argument. They even participate in common-sense explanations, as when we say of some person that he has been less subject to wild swings of enthusiasm and disappointment now that, with experience, he has gained a clearer idea of what (...) is good for him. Statements about a person's good present themselves as being about something with respect to which our beliefs can be true or false, warranted or unwarranted. Let us speak of these features as the descriptive side of discourse about a person's good. (shrink)

The paper presents and discusses the so-called Wrong Kind of Reasons Problem (WKR problem) that arises for the fitting-attitudes analysis of value. This format of analysis is exemplified for example by Scanlon's buck-passing account, on which an object's value consists in the existence of reasons to favour the object- to respond to it in a positive way. The WKR problem can be put as follows: It appears that in some situations we might well have reasons to have pro-attitudes toward objects (...) that are not valuable. Or vice versa: we might have reasons not to have pro-attitudes toward some valuable objects. The paper goes through several attempts to solve (or dissolve) the WKR problem and argues that none of them is fully satisfactory. (shrink)

ABSTRACTAlthough formative of modern value theory, the moral beauty view—which states that moral virtue is beautiful and moral vice is ugly—is now mostly neglected by philosophers. The two contemporary defences of the view mostly capitalize on its intuitive attractiveness, but to little avail: such considerations hardly convince sceptics of what is nowadays a rather unpopular view. Historically, the view was supported by thought experiments; and although these greatly increase its plausibility, they also raise empirical questions, which they leave unanswered. Here, (...) I offer a novel defence of the moral beauty view, capitalizing on empirical evidence and arguing via an inference to the best explanation. (shrink)

Ugliness is a neglected topic in contemporary analytic aesthetics. This is regrettable given that this topic is not just genuinely fascinating, but could also illuminate other areas in the field, seeing as ugliness, albeit unexplored, does feature rather prominently in several debates in aesthetics. This paper articulates a ‘deformity-related’ conception of ugliness. Ultimately, I argue that deformity, understood in a certain way, and displeasure, jointly suffice for ugliness. First, I motivate my proposal, by locating a ‘deformity-related’ conception of ugliness in (...) aesthetic tradition, offering examples in support, and rejecting related alternative suggestions. Second, I argue that the proposal boasts considerable merits. Not only does it capture much of what we ordinarily think of as ugly, but it also comprises an objective criterion for ugliness, offers unity and comprehensiveness, and is informative and explanatorily potent. Third, I discuss a number of objections, thereby demonstrating that the proposal withstands reflective scrutiny. (shrink)

Appraisal research based on participants' self-report of emotional experiences is predicated on the assumption that the academic community and the lay public share comparable meanings of the emotion terms used. However, this can be a risky assumption to make, as in the case of the emotion disgust which appears in common usage to reflect irritation, or anger, as often as repulsion. To examine the theoretical versus the lay meaning of disgust, 140 undergraduates were asked to recall a time when they (...) felt either angry, disgust, disgusted, revulsion, or grossed out. Analysis of event recall responses and emotional experience measures suggests that the common understanding of the word disgust reflects a combination of the conceptual meanings of disgust and anger whereas the slang term grossed out more closely captures the theoretical construct of disgust. Implications of these findings for emotion research based on self-report are discussed. (shrink)

The recent revival of interest in the notion of a secondary quality and its generalization to the notion of response-dependence has brought forward a number of interesting theories encompassing a wide variety of domains. I shall assume that the general line of approach embodied in many such theories is plausible and perhaps basically right, and address one particular epistemological issue. Most theories of response-dependence are heavily involved with notions of aprioricity, as we shall document presently. Unfortunately, despite being much used (...) they are rarely explicitly discussed by the main proponents of the relevant theories. As one of the critics, J. Edwards, has succinctly put it. (shrink)

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...) and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

Individuals with trypophobia have an aversion towards clusters of roughly circular shapes, such as those on a sponge or the bubbles on a cup of coffee. It is unclear why the condition exists, given the harmless nature of typical eliciting stimuli. We suggest that aversion to clusters is an evolutionarily prepared response towards a class of stimuli that resemble cues to the presence of parasites and infectious disease. Trypophobia may be an exaggerated and overgeneralised version of this normally adaptive response. (...) Consistent with this explanation, individuals with trypophobia, as well as comparison individuals, reported aversion towards disease-relevant cluster stimuli, but only the trypophobic group reported aversion towards objectively harmless cluster stimuli that had no relevance to disease. For both groups the level of aversion reported was predicted uniquely by a measure of disgust sensitivity. Scaled emotion ratings and open-ended responses revealed that the aversive response was predominantly based on the disease avoidance emotion, disgust. Many open-ended responses also described skin sensations. These findings support the proposal that individuals with trypophobia primarily perceive cluster stimuli as cues to ectoparasites and skin-transmitted pathogens. (shrink)

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

Animal beauty provides a significant aesthetic reason for protecting nature. Worries about aesthetic discrimination and the ugliness of predation might make one think otherwise. Although it has been argued that aesthetic merit is a trivial and morally objectionable basis for action, beauty is an important value and a legitimate basis for differential treatment, especially in the case of animals. While the suffering and death of animals due to predation are important disvalues that must be recognized, predation’s tragic beauty has positive (...) aesthetic value that can be appropriately aesthetically appreciated. (shrink)

This paper aims to show that widespread, serious errors in the self-assessment of affect are a genuine possibility-one worth taking very seriously. For we are subject to a variety of errors concerning the character of our present and past affective states, or "affective ignorance." For example, some affects, particularly moods, can greatly affect the quality of our experience even when we are unable to discern them. I note several implications of these arguments. First, we may be less competent pursuers of (...) happiness than is commonly believed, raising difficult questions for political thought. Second, some of the errors discussed ramify for our understanding of consciousness, including Ned Block's controversial distinction between access consciousness and phenomenal consciousness. Third, empirical results based on self-reports about affect may be systematically misleading in certain ways. (shrink)

Forthcoming, Journal of Philosophy [pdf manuscript].

In this article we provide a unifying neural hypothesis on how individuals understand the actions and emotions of others. Our main claim is that the fundamental mechanism at the basis of the experiential understanding of others' actions is the activation of the mirror neuron system. A similar mechanism, but involving the activation of viscero-motor centers, underlies the experiential understanding of the emotions of others.