The goal of this paper is to offer a new theory of moods, according to which moods are perceptual experiences that represent undetermined objects as possessing specific evaluative properties. I start by listing a series of features that moods are typically taken to possess and claim that a satisfactory theory of moods must be able either to explain why moods genuinely possess these features or to explain these appearances away in a non-ad hoc way. I show that my account provides (...) a plausible explanation of all the main features of moods. I conclude by addressing some objections against my account. (shrink)

It is a remarkable feature of most contemporary discussions of emotion that they have been conducted without any reference to what it could mean to talk of the expression of emotion in music. This is a crucial absence, I shall argue, since a proper understanding of music's expression of emotion must lead to a correct view of the nature of emotion itself. Such an understanding will yield the view that emotion is a state of consciousness which is both intentional and (...) affective, and at the same time totally undermine the view that emotions are, or necessarily involve, judgments or evaluations. (shrink)

I describe my current thinking on two old questions—the causal role of appraisals and the relationship of appraisal theories to basic emotions theories and constructivist theories, and three (sort of) new questions—the completeness of appraisals, the role of language, and the development of automaticity in emotional responses.

Juslin & Vll (J&V) think that all emotions aroused by music have the music itself as their Some of the mechanisms they discuss almost certainly involve both cognitive appraisals and intentional objects. But some of the mechanisms are non-cognitive: they involve neither cognitive appraisals nor intentional objects. Partly for this reason they may produce moods rather than emotions proper.

In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some affective episode (...) is a distinct emotion. Indeed, being moved, we claim, is the experience of a positive core value (particular object) perceived by the moved subject as standing out (formal object) in the circumstances triggering the emotion. Drawing on numerous examples, we describe the distinctively rich phenomenology characteristic of the experience as well as the far-reaching action-tendencies and functions associated with it. Having thus shown that the candidate emotion seem to satisfy the five criteria, we go on, in section three, to compare it with sadness and joy, arguing that it should not be confused with either. Finally, in section four, we illustrate the explanatory power of our account of “being moved” by showing how it can shed light on, and maybe even justify, the widespread distrust we feel towards the exhibition of ‘sentimentality’. On the whole and if we are right, we have uncovered an emotion which, though never or rarely talked about, is of great interest and no small importance. (shrink)

In recent years, the philosophy of art has profited enormously by applying to the study of art insights derived from the philosophies of mind and language, naturalized epistemology, psychology, evolutionary theory, and cognitive science. A case in point: the discussion of the nature of picturing and pictorial perception has obviously benefited from the influence of perceptual psychology and cognitive studies. Likewise, the theorization of art in relation to the emotions has also exploited contemporary advances in adjacent areas of inquiry.

Music is universal at least partly because it expresses emotion and regulates affect. Associations between music and emotion have been examined regularly by music psychologists. Here, we review recent findings in three areas: the communication and perception of emotion in music, the emotional consequences of music listening, and predictors of music preferences.

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings and (...) is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated. (shrink)

It is widely assumed that emotions have particular intentional objects. This assumption is consistent with the way that we talk: when we attribute states of anger, we often attribute anger at someone, or at something. It is also consistent with leading theories of emotion among philosophers and psychologists, according to which emotions are like judgments or appraisals. However, there is evidence from the social psychology literature suggesting that this assumption is actually false. I will begin by presenting a criterion for (...) determining whether a mental state has a particular object. It is not sufficient for that state to be caused by an object or by a representation of a given object—the state must influence the subject’s thought and behavior in ways that are specific to that object. I will present evidence that emotions fail this test, and describe some of the reasons why we persistently attribute objects to our emotions. My view may seem untenable, because the literature on various aspects of emotional life such as normativity, linguistic expression, and behavioral influence consistently appeals to intentional objects. I will conclude by presenting a sketch of how I could address this concern. (shrink)

The notion that emotional expressions regulate social life by providing information is gaining popularity. Prior research on the effects of emotional expressions on observers’ inferential processes has focused mostly on inferences regarding the personality traits of the expresser, such as dominance and affiliation. We extend this line of research by exploring the possibility that emotional expressions shape observers’ construal of social situations. Across three vignette studies, an interaction partner's expressions of anger, compared to expressions of happiness or disappointment, led observers (...) to construe hypothetical situations as less cooperative, both in dyads and groups. These effects occurred even when factual information regarding the cooperativeness or competitiveness of the situation was provided, attesting to the power of emotional expressions in shaping the construal of social situations. Results are discussed in relation to appraisal theory, reverse appraisals, emotions as social information theory, and the emergence of cooperation in groups and cultures. (shrink)