Paul E. Griffiths argues that most research on the emotions has been as misguided as Aristotelian efforts to study "superlunary objects" - objects...

In this paper I review some leading developments in the empirical theory of affect. I argue that (1) affect is a distinct perceptual representation governed system, and (2) that there are significant modular factors in affect. The paper concludes with the observation thatfeeler (affective perceptual system) may be a natural kind within cognitive science. The main purpose of the paper is to explore some hitherto unappreciated connections between the theory of affect and the computational theory of mind.

Within both philosophy and psychology, a new pro-emotion consensus is replacing the old dogmas that emotions disrupt practical rationality, that they are at best arational, if not outright irrational, and that we can understand what is really central to human cognition without studying them. Emotions are now commonly viewed as evolved capacities that are integral to our practical rationality. An infinite mind, unencumbered by a body, might get along just fine without emotions; but we finite embodied creatures need them if (...) we are to be capable of responding appropriately to our reasons and navigating in a risky world with poor information, limited attention, and restricted computational power. Emotions are clever design solutions to the problem of making fast decisions in response to significant practical problems posed by the natural and social worlds: we perceive a danger and fear immediately primes us to take protective action. On this view, the theory of emotions is an essential part of a theory of ecologically situated and constrained rationality - that is to say, of human rationality. (shrink)

The philosophy of emotion has long been divided over the cognitive nature of emotion. In this paper I argue that this debate suffers from deep confusion over the meaning of “cognition” itself. This confusion has in turn obscured critical substantive agreement between the debate’s principal opponents. Capturing this agreement and remedying this confusion requires re-conceptualizing “the cognitive” as it functions in first-order theories of emotion. Correspondingly, a sketch for a new account of cognitivity is offered. However, I also argue that (...) this new account, despite tacit acceptance by all major theories of emotion, in fact rules out some of the most fundamental and controversial claims of one side of the nature-of-emotion debate, emotional cognitivism. (shrink)

Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...) engaged with the arts and aesthetics. (shrink)