In this paper we adopt Sterelny's framework of the scaffolded mind, and his related dimensional approach, to highlight the many ways in which human affectivity is environmentally supported. After discussing the relationship between the scaffolded-mind view and related frameworks, such as the extended-mind view, we illustrate the many ways in which our affective states are environmentally supported by items of material culture, other people, and their interplay. To do so, we draw on empirical evidence from various disciplines, and develop phenomenological (...) considerations to distinguish different ways in which we experience the world affectively. (shrink)

For many years emotion theory has been characterized by a dichotomy between the head and the body. In the golden years of cognitivism, during the nineteen-sixties and seventies, emotion theory focused on the cognitive antecedents of emotion, the so-called “appraisal processes.” Bodily events were seen largely as byproducts of cognition, and as too unspecific to contribute to the variety of emotion experience. Cognition was conceptualized as an abstract, intellectual, “heady” process separate from bodily events. Although current emotion theory has moved (...) beyond this disembodied stance by conceiving of emotions as involving both cognitive processes (perception, attention, and evaluation) and bodily events (arousal, behavior, and facial expressions), the legacy of cognitivism persists in the tendency to treat cognitive and bodily events as separate constituents of emotion. Thus the cognitive aspects of emotion are supposedly distinct and separate from the bodily ones. This separation indicates that cognitivism’s disembodied conception of cognition continues to shape the way emotion theorists conceptualize emotion. (shrink)

The theory of autopoiesis is central to the enactive approach. Recent works emphasize that the theory of autopoiesis is a theory of sense-making in living systems, i.e. of how living systems produce and consume meaning. In this chapter I first illustrate (some aspects of) these recent works, and interpret their notion of sense-making as a bodily cognitive- emotional form of understanding. Then I turn to modern emotion science, and I illustrate its tendency to over-intellectualize our capacity to evaluate and understand. (...) I show that this overintellectualization goes hand in hand with the rejection of the idea that the body is a vehicle of meaning. I explain why I think that this over-intellectualization is problematic, and try to reconceptualize the notion of evaluation in emotion theory in a way that is consistent and continuous with the autopoietic notion of sense-making. (shrink)

We call affective brainocentrism the tendency to privilege the brain over other parts of the organism when defining or explaining emotions. We distinguish two versions of this tendency. According to brain-sufficient, emotional states are entirely realized by brain processes. According to brain-master, emotional states are realized by both brain and bodily processes, but the latter are entirely driven by the brain: the brain is the master regulator of bodily processes. We argue that both these claims are problematic, and we draw (...) on physiological accounts of stress to make our main case. These accounts illustrate the existence of complex interactions between the brain and endocrine systems, the immune system, the enteric nervous system, and even gut microbiota. We argue that, because of these complex brain–body interactions, the brain cannot be isolated and identified as the basis of stress. We also mention recent evidence suggesting that complex brain–body interactions characterize the physiology of depression and anxiety. Finally, we call for an alternative dynamical, systemic, and embodied approach to the study of the physiology of emotions that does not privilege the brain, but rather aims at understanding how mutually regulating brain and bodily processes jointly realize a variety of emotional states. (shrink)

In this paper I argue that it is misleading to regard the brain as the physical basis or “core machinery” of moods. First, empirical evidence shows that brain activity not only influences, but is in turn influenced by, physical activity taking place in other parts of the organism. It is therefore not clear why the core machinery of moods ought to be restricted to the brain. I propose, instead, that moods should be conceived as embodied, i.e., their physical basis should (...) be enlarged so as to comprise not just brain but also bodily processes. Second, I emphasise that moods are also situated in the world. By this I do not simply mean that moods are influenced by the world, but that they are complexly interrelated with it, in at least three different ways: they are shaped by cultural values and norms; they are materially and intersubjectively “scaffolded”; and they can even “experientially incorporate” parts of the world, i.e., include the experience of parts of the world as part of oneself. (shrink)

According to Discrete Emotion Theory, a number of emotions are distinguishable on the basis of neural, physiological, behavioral and expressive features. Critics of this view emphasize the variability and context-sensitivity of emotions. This paper discusses some of these criticisms, and argues that they do not undermine the claim that emotions are discrete. This paper also presents some works in dynamical affective science, and argues that to conceive of discrete emotions as self-organizing and softly assembled patterns of various processes accounts more (...) naturally than traditional Discrete Emotion Theory for the variability and context-sensitivity of emotions. (shrink)

This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the ‘Senecan’ conception of tragedy as a representation of suffering and as (...) a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, which involves Shakespeare and culminates in French Classicism. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large. -/- Keywords: Theory of Tragedy, Idealism, Seneca, Hegel, Pathos . (shrink)

Self-disorders in depression and schizophrenia have been the focus of much recent work in phenomenological psychopathology. But little has been said about the role the material environment plays in shaping the affective character of these disorders. In this paper, we argue that enjoying reliable (i.e., trustworthy) access to the things and spaces around us — the constituents of our material environment — is crucial for our ability to stabilize and regulate our affective life on a day-today basis. These things and (...) spaces often play an ineliminable role in shaping what we feel and how we feel it; when we interact with them, they contribute ongoing feedback that " scaffolds " the character and temporal development of our affective experiences. However, in some psychopathological conditions, the ability to access to these things and spaces becomes disturbed. Individuals not only lose certain forms of access to the practical significance of the built environment but also to its ​ regulative​ significance, too — and the stability and organization of their affective life is compromised. In developing this view, we discuss core concepts like " affordance spaces " , " scaffolding " , and " incorporation ". We apply these concepts to two case studies, severe depression and schizophrenia, and we show why these cases support our main claim. We conclude by briefly considering implications of this view for developing intervention and treatment strategies. (shrink)

1 More than two centuries later, the aesthetic reflection of Idealism does not seem to have lost interest in philosophical debate at all. It is a multifaceted interest, which has partly historical-conceptual reasons, since it was post-Kantian philosophy that first posed the problem of defining art in systematic and cognitive terms, and partly more genuinely theoretical ones, for instance the contemporary declinations of a typically Idealistic theme such as the socio-historical determination o...

Literature plays a relevant role in Hegel’s philosophical discourse. On the one hand, literary references are often interwoven with his speculative argumentation, on the other hand, the Aesthetics regards poetry as the highest form of artistic expression, for it is able to represent the different ways of human action and to bring up their hidden ideal presuppositions. The aim of this paper is to show how the concept of action is crucial to the interpretation of literary phenomena in the Aesthetics, (...) but assumes different configurations in relation to the historical transformation of the concept of subjectivity. To verify the specifically aesthetic import of concepts such as action and recognition, which originally belong to the ethical-political sphere, I will examine Hegel’s interpretation of the chivalric literature, which is present in various areas and with different functions in the structure of the Aesthetics, as a component of his theory of subjectivity. This topic has been little studied but offers an interesting perspective on some problematic points of Hegel’s theory: the controversial relation between the structural dimension of the concept of art and historical development of artistic forms, the apparently univocal paradigm of classic beauty, and the definition of artistic modernity. (shrink)

That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as elevation of the soul, and as experience of the absolute in nature, constitutes undoubtedly one of the characterizing features of the poetics of Romanticism. Much less known, however, is the theoretical reflection on the concept of the sublime, and in fact scholarship on the (...) modern sublime tends to neglect its theoretical development after Kant and Schiller, moving directly to Nietzsche and the postmodern. The theoretical definition of the sublime, on the contrary, plays a far from secondary role in the aesthetic of German idealism, where it was not conceptualized in opposition to the beautiful, but rather as one of its constitutive moments. While no longer approached in relation to the aesthetic experience of nature, the sublime has been included in art theory, ostensibly losing its theoretical centrality, but in reality contributing to modify radically the characteristics of the idea of the beautiful. That of philosophers is a form of crypto-sublime that is parallel but distinct from the sublime of poets and artists, and that operates underground to influence the definition of the forms of beauty. The present volume aims to outline the development of the philosophical conception of the sublime from Schiller, who formulated a theory of tragedy based on Kant’s philosophy and thereby laid the foundation of Romanticism, to the philosophers of the Hegelian school, who placed the sublime, together with the comic, the ugly, and the grotesque, at the center of aesthetic reflection. (shrink)

In the article I discuss the philosophical premises of Kleist's literary work, focussing on the relationship between his conception of moral conscience and Kant's ethics.

Introduzione Lo studio delle emozioni è stato caratterizzato per molti anni da una netta separazione fra mente e corpo. Negli anni Sessanta e Settanta – l’epoca aurea del cognitivismo – le teorie delle emozioni si occupavano soprattutto degli antecedenti cognitivi dell’emozione, le cosiddette “valutazioni”. I processi corporei erano visti essenzialmente come sottoprodotti della cognizione, e come troppo poco specifici per poter contribuire alla varietà dell’esperienza emotiva. La cognizione e...

In this paper I suggest that several problems in the study of emotion depend on a lack of adequate analytical tools, in particular on the tendency of viewing the organism as a modular and hierarchical system whose activity is mainly constituted by strictly sequential causal events. I argue that theories and models based on this view are inadequate to account for the complex reciprocal influences of the many ingredients that constitute emotions. Cognitive processes, feelings and bodily states are so subtly (...) intertwined that it is not possible to determine which one "comes first" in a causal chain. The dynamical systems approach in cognitive science, I suggest, provides a more appropriate framework for the study of emotion. In particular, the notion of circular causation and collective action help depict the organism as a self-organising system in which emotion emerges as a function of its global activity. Among others, this dynamical perspective allows revising the popular notion of appraisal in a way that can dissolve some of the questions that have taunted emotion theorists thus far. (shrink)

_ Source: _Volume 63, Issue 3, pp 229 - 256 I argue that, for Aristotle, akratic actions are against one’s general commitment to act in accordance with one’s correct conception of one’s ends overall. Only some akratic actions are also against one’s correct decision to perform a particular action. This thesis explains Aristotle’s views on impetuous _akrasia_, weak _akrasia_, stubborn opinionated action and inverse _akrasia_. In addition, it sheds light on Aristotle’s account of practical rationality. Rational actions are coherent primarily (...) with one’s commitments to one’s conception of the good and only secondarily with one’s decisions to perform a particular action. (shrink)

This paper reflects on lessons learned from a validated model of international collaboration based on research and practice. During the European Year for Active Ageing, a partnership of seven organizations from the European Union plus Turkey implemented the Lifelong Learning Programme partnership “Connecting Generations‘ which involved universities, non-governmental organizations, third age Universities and municipalities in collaboration with local communities. Reckoning that Europe has dramatically changed in its demographic composition and is facing brand new challenges regarding intergenerational and intercultural solidarity, each (...) partner formulated and tested innovative and creative practices that could enhance better collaboration and mutual understanding between youth and senior citizens, toward a more inclusive Europe for all. Several innovative local practices have experimented, attentively systematized and peer-valuated among the partners. On the basis of a shared theoretical framework coherent with EU and Europe and Training 2020 Strategy, an action-research approach was adopted throughout the project in order to understand common features that have been replicated and scaled up since today. (shrink)

Upshot: Colombetti’s book is a contribution to the literature of at least three intellectual communities within philosophy and the cognitive sciences: affective science, embodiment, and enactivism. Despite the emphasis on embodiment over the past ten to fifteen years, and the resurgence of interest in emotion in the mid-to-late twentieth century, affect nevertheless remains underrepresented in the philosophy of mind and cognition, even in the embodiment and enactive communities. In her book, Colombetti helps to close this gap in the literature.

[This paper is written in Czech.] The aim of this article is to briefly introduce and critically analyze the dialogue between phenomenology and contemporary theories of embodied cognition in relation to the study of affectivity. The author explains how these theoretical approaches interpret the dynamic relationship between affective experiences on the one hand and bodily behavior and intersubjectively observable processes taking place in the environment on the other. He first summarizes the positions of Joel Krueger and Giovanna Colombetti, who (...) draw on the theories of extended cognition and enactivism, and then compares them with Merleau-Ponty’s phenomenological approach. In this way, there are found to be inconsistencies in Krueger’s and Colombetti’s approaches, whose resolution, in the author’s opinion, requires the working out of a rigorously “relational” interpretation of affectivity. From this point of view, affectivity is not understood as an internal phenomenon causally linked to external material factors, but strictly as a dynamic relationship between a sense-making agent and his or her meaningful environment. (shrink)

This paper explores various notions of aesthetic affordance recently developed through embodied, situated and enactive approaches to aesthetic experience by Maria Brincker and Shaun Gallagher, and the similarities and differences between them and the idea of affective affordance put forward by Joel Krueger and Giovanna Colombetti. This discussion is a way to try to offer some answers to the question of what aesthetic affordances particularly afford compared to affective affordances. I will focus on the affordances that we perceive during (...) various aesthetic experiences in which we find ourselves more moved by the object, event or person(s) causing the experience than we had anticipated. I will argue that these experiences emerge as opportunities to carry out an active exploration of aspects of the narrative self that we feel is related to features of the experience; and that one particular brain network likely to be involved in these experiences – i.e. the default network – might help us to understand how these experiences meaningfully change our relationship with ourselves and with the social context of which we are a part. (shrink)