Though the revised edition of A Theory of Justice, published in 1999, is the definitive statement of Rawls's view, so much of the extensive literature on Rawls's theory refers to the first edition.

In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.

In Encountering Affect, Ben Anderson explores why understanding affect matters and offers one account of affective life that hones in the different ways in which affects are ordered. Intervening in debates around non-representational theories, he argues that affective life is always-already ‘mediated’ - the never finished product of apparatuses, encounters and conditions. Through a wide range of examples including dread-debility-dependency in torture, ordinary hopes, and precariousness, Anderson shows the significance of affect for understanding life today.

Is shame dead? With personal information made so widely available, an eroding public/private distinction, and a therapeutic turn in public discourse, many seem to think so. People across the political spectrum have criticized these developments and sought to resurrect shame in order to protect privacy and invigorate democratic politics. Democracy and the Death of Shame reads the fear that 'shame is dead' as an expression of anxiety about the social disturbance endemic to democratic politics. Far from an essential supplement to (...) democracy, the recurring call to 'bring back shame' and other civilizing mores is a disciplinary reaction to the work of democratic citizens who extend the meaning of political equality into social realms. Rereadings from the ancient Cynics to the mid-twentieth century challenge the view that shame is dead and show how shame, as a politically charged idea, is disavowed, invoked, and negotiated in moments of democratic struggle. (shrink)

A major influence on civil rights, anti-colonial, and black consciousness movements around the world, Black Skin, White Masks is the unsurpassed study of the black psyche in a white world. Hailed for its scientific analysis and poetic grace when it was first published in 1952, the book remains a vital force today. “[Fanon] demonstrates how insidiously the problem of race, of color, connects with a whole range of words and images.” — Robert Coles, The New York Times Book Review.

Interest in sensory atmospheres and architectural and urban ambiances has been growing for over 30 years. A key figure in this field is acclaimed German philosopher Gernot Böhme whose influential conception of what atmospheres are and how they function has been only partially available to the English-speaking public. This translation of key essays along with an original introduction charts the development of Gernot Böhme's philosophy of atmospheres and how it can be applied in various contexts such as scenography, commodity aesthetics, (...) advertising, architecture, design, and art. The phenomenological analysis of atmospheres has proved very fruitful and its most important, and successful, application has been within aesthetics. The material background of this success may be seen in the ubiquitous aestheticization of our lifeworld, or from another perspective, of the staging of everything, every event and performance. The theory of atmospheres becoming an aesthetic theory thus reveals the theatrical, not to say manipulative, character of politics, commerce, of the event-society. But, taken as a positive theory of certain phenomena, it offers new perspectives on architecture, design, and art. It made the spatial and the experience of space and places a central subject and hence rehabilitated the ephemeral in the arts. Taking its numerous impacts in many fields together, it initiated a new humanism: the individual as a living person and his or her perspective are taken seriously, and this fosters the ongoing democratization of culture, in particular the possibility for everybody to participate in art and its works. (shrink)

Quasi things come and go and we cannot wonder where they've been (starting from the wind) -- Quasi-things assault and resist us: feelings as atmospheres -- Quasi things are felt (though not localized): the isles of the felt-body -- Quasi-things are proofs of existence: pain as the genesis of the subject -- Quasi-things affect us (also indirectly): vicarious shame -- Quasi-things communicate with us: from the gaze to the portrait (and back) -- Quasi-things are the more effective the vaguer they (...) are: twilightness. (shrink)

The unsettling, humiliating, and often threatening experience of feeling oneself ‘invisible’ before the gazes of other people in one’s social world has obvious potential as a theme for collaborative efforts between social theorists and phenomenologists. This chapter proposes one way of approaching such an engagement, drawing in particular upon three authors who offer detailed analyses of social visibility and its potential pathologies: Axel Honneth, Frantz Fanon, and Edmund Husserl. The specific phenomenon is first be located by way of Honneth’s treatment (...) of social invisibility as frequented by behaviour that expresses an attitude of nonrecognition towards other persons immediately present. Drawing from Fanon (and others), it is then argued that Honneth’s generally perceptive analysis, by focussing primarily on cases involving the seeming absence of all emotive recognition, underestimates the role of certain (dehumanising) emotional responses in conveying to persons their ‘invisibility.’ While the exact relationships holding between perception and affect remain largely unexplored in Honneth’s work, the chapter goes on to consider these relationships phenomenologically by drawing upon Husserl’s unpublished writings on emotion and social experience. Moreover, it is suggested that the form of nonrecognition involved with social invisibility can be understood as a manifestation of a broader danger implicit within affective life, that is termed ‘emotional blindness’. Briefly put, it is proposed that the ‘invisibilising gaze’ manifests an affective response that, while sometimes partially co-responsive to social perception and understanding, is contaminated with associative configurations that lead our feelings astray. (shrink)

This book examines the role of atmospheres in daily life, and defines their main characteristics. Outlining the typical phenomenological situations in which we experience atmospheres, it assesses their impact on contemporary aesthetics. It puts forward a philosophical approach which systematises a constellation of affects and climates, finds patterns in the emotional tones of different spaces and assesses their impact on the felt body. It also critically discusses the spatial turn invoked by several of the social sciences, and argues that there (...) is a need for a non-psychologistic rethinking of the philosophy of emotions. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised by (...) Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

This article investigates the relationship between emotional sharing and the extended mind thesis. We argue that shared emotions are socially extended emotions that involve a specific type of constitutive integration between the participating individuals’ emotional experiences. We start by distinguishing two claims, the Environmentally Extended Emotion Thesis and the Socially Extended Emotion Thesis. We then critically discuss some recent influential proposals about the nature of shared emotions. Finally, in Sect. 3, we motivate two conditions that an account of shared emotions (...) ought to accommodate: Reciprocal Other-awareness and Integration. Consideration of and discussion of relational accounts of joint attention lead us to the proposal that a construal of socially extended emotions in terms of a constitutive integration of the participating individuals’ experiences is more promising than proposals that simply appeal to various forms of social situatedness, embeddedness, or scaffolding. (shrink)

Collective moods are ubiquitous in social life. People may experience the sharing of a mood at a large sporting event, a concert or a religious ceremony, but also at a small family celebration or as part of a tour group. However, in philosophical discussions, collective moods are often framed as experiences of ecstasy, intoxication or even disinhibition at mass events without examining other aspects. Yet we practice and cultivate the sharing of moods in quite varied forms. In this paper I (...) intend to offer a differentiating suggestion as to the levels and forms of the sharing of moods, drawing on discussions of shared feelings, work on the phenomenology of social understanding, and social theory. (shrink)

What exactly is wrong with hating others? However deep-seated the intuition, when it comes to spelling out the reasons for why hatred is inappropriate, the literature is rather meager and confusing. In this paper, I attempt to be more precise by distinguishing two senses in which hatred is inappropriate, a moral and a non-moral one. First, I critically discuss the central current proposals defending the possibility of morally appropriate hatred in the face of serious wrongs or evil perpetrators and show (...) that they are all based on a problematic assumption, which I call the?reality of evil agents assumption?. I then turn to the issue of non-moral emotional appropriateness and sketch a novel, focus-based account of fittingness. Next, I outline the distinctive affective intentionality of hatred, suggesting that hatred, unlike most other antagonistic emotions, has an overgeneralizing and indeterminate affective focus. Against this background, I argue that hatred cannot be fitting. Due to the indeterminacy of its focus, hatred fails to pick out those evaluative features of the intentional object that would really matter to the emoters. I close with some tentative remarks on the possibility of appropriate hatred towards corporate or group agents. (shrink)

We introduce the working concept of “affective arrangement.” This concept is the centerpiece of a perspective on situated affectivity that emphasizes relationality, dynamics, and performativity. Our proposal relates to work in cultural studies and continental philosophy in the Spinoza–Deleuze lineage, yet it is equally geared to the terms of recent work in the philosophy of emotion. Our aim is to devise a framework that can help flesh out how affectivity unfolds dynamically in a relational setting by which it is at (...) the same time modulated in recurring ways. With this orientation, this article contributes to the interdisciplinary study of situated affectivity and to the theoretical and conceptual unification of distinct strands of research from several disciplines. (shrink)

In this paper, I distinguish three claims, which I label individual intentional autonomy, individual intentional autarky, and intentional individualism. The autonomy claim is that under normal circumstances, each individual's behavior has to be interpreted as his or her own action. The autarky claim is that the intentional interpretation of an individual's behavior has to bottom out in that individual's own volitions, or pro-attitudes. The individualism claim is weaker, arguing that any interpretation of an individual's behavior has to be given in (...) terms of individual intentional states. I argue that individual intentional autonomy implies neither individual intentional autarky, nor intentional individualism, with which it is usually lumped together. I further argue that this insight is the key to an adequate view of an important class of actions, i.e., plural actions. (shrink)

Architectural experiences are essentially multi-sensory and simultaneous, and a complex entity is usually grasped as an atmosphere, ambience or feeling. In fact, the judgement concerning the character of a space or place calls for categories of sensing that extend beyond the five Aristotelian senses, such as the embodied existential sense, and, as a result, the entity is perceived in a diffuse, peripheral and unconscious manner. Paradoxically, we grasp an atmosphere before we have consciously identified its constituent factors and ingredients. «We (...) perceive atmospheres through our emotional sensibility – a form of perception that works incredibly quickly, and which we humans evidently need to help us survive», Peter Zumthor suggests. We are mentally and emotionally affected by works of art before we understand them, or we may not understand them intellectually at all. Sensitive artists and architects intuit experiential and emotive qualities of spaces, places and images. This capacity calls for a specific kind of imagination, an emphatic imagination. Atmospheres are percieved peripherally through diffuse vision interacting with other sense modalities, and they are experienced emotionally rather than intellectually. The studies on the differentiation of the two brain hemispheres suggest that atmospheres are perceived through the right hemisphere. Somewhat surprisingly, atmospheres are more conscious objectives in literature, cinema, theater, painting and music than in architecture, which has been traditionally approached formally and perceived primarily through focused vision. Yet, when we see a thing in focus, we are outsiders to it, whereas the experience of being in a space calls for peripheral and unfocused perception. One of the reasons for the experiential poverty of contemporary settings could be in the poverty of their peripheral stimuli. (shrink)

In recent years, several minimalist accounts of joint action have been offered (e.g. Tollefsen Philosophy of the Social Sciences 35:75–97, 2005; Sebanz et al. Journal of Experimental Psychology: Human Perception and Performance, 31(6): 234–1246, 2006; Vesper et al. Neural Networks 23 (8/9): 998–1003, 2010), which seek to address some of the shortcomings of classical accounts. Minimalist accounts seek to reduce the cognitive complexity demanded by classical accounts either by leaving out shared intentions or by characterizing them in a way that (...) does not demand common knowledge of complex, interconnected structures of intentions. Moreover, they propose models of the actual factors facilitating online coordination of movements. The present proposal aims to enrich a minimalist framework by showing how shared emotions can facilitate coordination without presupposing common knowledge of complex, interconnected structures of intentions. Shared emotions are defined for the purposes of this paper as affective states that fulfill two minimal criteria: (a) they are expressed (verbally or otherwise) by one person; and (b) the expression is perceived (consciously or unconsciously) by another person. Various ways in which the fulfillment of (a) and (b) can lead to effects that function as coordinating factors in joint action are distinguished and discussed. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

The normativity of emotions is a widely discussed phenomenon. So far embodied accounts have not paid sufficient attention to the various aspects of the normativity of emotions. In this paper it shall be pointed out that embodied accounts are constrained in the way they can account for the normativity of emotions due to their commitments to naturalism, externalism, and anti-vehicle-internalism. One way to account for the normativity of emotions within a naturalist framework is to describe the intentional objects of emotions (...) as affordances that are of value for the organism. These affordances are part of a biological and social environment we are situated in, and they stand in complex relations to each other and to skillful organisms. I suggest that describing these relations can replace vehicle-internalist approaches but still account for the normativity of emotions within a naturalist framework. (shrink)

Among other things, this paper considers what so-called collective guilt feelings amount to. If collective guilt feelings are sometimes appropriate, it must be the case that collectives can indeed be guilty. The paper begins with an account of what it is for a collective to intend to do something and to act in light of that intention. An account of collective guilt in terms of membership guilt feelings is found wanting. Finally, a "plural subject" account of collective guilt feelings is (...) articulated, such that they involve a joint commitment to feel guilt as a body. (shrink)

Taking a broad historical perspective, Public Passion traces the role of emotion in political thought from its prominence in classical sources, through its resuscitation by Montesquieu, to the present moment. Combining intellectual history, philosophy, and political theory, Rebecca Kingston develops a sophisticated account of collective emotion that demonstrates how popular sentiment is compatible with debate, pluralism, and individual agency and shows how emotion shapes the tone of interactions among citizens. She also analyzes the ways in which emotions are shared and (...) transmitted among citizens of a particular regime, paying particular attention to the connection between political institutions and the psychological dispositions that they foster. Public Passion presents illuminating new ways to appreciate the forms of popular will and reveals that emotional understanding by citizens may in fact be the very basis through which a commitment to principles of justice can be sustained. (shrink)

In his new book, eminent psychologist - Daniel Stern, explores the hitherto neglected topic of 'vitality'. Truly a tour de force from a brilliant clinician and scientist, Forms of Vitality is a profound and absorbing book - one that will be essential reading for psychologists, psychotherapists, and those in the creative arts.

Emotions and bodily feelings -- Existential feelings -- The phenomenology of touch -- Body and world -- Feeling and belief in the Capgras delusion -- Feelings of deadness and depersonalization -- Existential feeling in schizophrenia -- What William James really said -- Stance, feeling, and belief -- Pathologies of existential feeling.

How can we motivate ourselves to do what we think we ought? How can we deliberate about personal values and priorities? Bennett Helm argues that standard philosophical answers to these questions presuppose a sharp distinction between cognition and conation that undermines an adequate understanding of values and their connection to motivation and deliberation. Rejecting this distinction, Helm argues that emotions are fundamental to any account of value and motivation, and he develops a detailed alternative theory both of emotions, desires and (...) evaluative judgements and of their rational interconnections. The result is an innovative theory of practical rationality and of how we can control not only what we do but also what we value and who we are as persons. (shrink)

Introduction: find your way -- Orientations toward objects -- Sexual orientation -- The orient and other others -- Conclusion: disorientation and queer objects.

According to current opinion in western psychopathology, depression is regarded as a disorder of mood and affect on the one hand, and as a distortion of cognition on the other. Disturbances of bodily experience and of social relations are regarded as secondary to the primarily 'inner'and individual disorder. However, quite different concepts can be found in cultures whose members do not experience themselves as much as separate individuals but rather as parts of social communities. Disorders of mood or well-being are (...) then conceived less as intra-psychic, but rather as bodily, interpersonal, or atmospheric processes. On this background, the paper describes depression as a disorder of intercorporeality and interaffectivity. After developing these phenomenological concepts, it analyses depression as a 'detunement' of the resonant body that mediates our participation in a shared affective space. Instead of expressing the self, the body is turned into a barrier to all impulses directed to the environment. This impairs particularly the patient's interaction with others, resulting in a general sense of detachment, separation, or even segregation. Moreover, the restriction of the lived body also corresponds to the triggering situations of depression, namely experiences of a disruption of social bonds. Thus, intercorporeality and interaffectivity are presented as crucial dimensions for an ecological and non-reductionist view of depression. (shrink)