In current philosophy of mind, there is lively debate over whether emotions, moods, and other affects can extend to comprise elements beyond one’s organismic boundaries. At the same time, there has been growing interest in the nature and significance of so-called existential feelings, which, as the term suggests, are feelings of one’s overall being in the world. In this article, I bring these two strands of investigation together to ask: Can the material underpinnings of existential feelings extend beyond one’s skull (...) and skin? To begin, I introduce and adopt a componential-systemic view of extended affectivity. In doing so, I specify the vehicle externalist criteria for extension employed in my analysis. I then define what existential feelings are and pinpoint several key issues in their potential extension. More specifically, I identify sensorimotor ‘know-how’ as a possibly extending component of existential feeling and posit it as the fulcrum of my argument. Finally, I move on to consider the extension of existential feeling via sensory substitution, especially through so-called Tactile Visual Sensory Substitution (TVSS) devices. Informed by both philosophical and empirical studies, I argue that, under certain conditions, (a) the agent’s implicit sensorimotor processing and a TVSS device can become coupled into a new systemic whole, which in turn (b) reconfigures the material underpinnings of the agent’s pre-intentional world-experience. This, I conclude, counts as a cogent case for extended existential feeling. (shrink)

The present volume is a sequel to Deontic Logic: Introductory and Systematic Readings : its purpose is to offer a view of some of the main directions of research in contemporary deontic logic. Most of the articles included in Introductory and Systematic Readings represent what may be called the standard modal approach to deontic logic, in which de on tic logic is treated as a branch of modal logic, and the normative concepts of obligation, permission and prohibition are regarded as (...) analogous to the "alethic" modalities necessity, possibility and impossibility. As Simo Knuuttila shows in his contribution to the present volume, this approach goes back to late medieval philosophy. Several 14th century philosophers observed the analogies between deontic and alethic modalities and discussed the deontic interpretations of various laws of modal logic. In contemporary deontic logic the modal approach was revived by G. H. von Wright's classic paper 'Deontic Logic'. Certain analogies between deontic and alethic modalities are obvious and uncontroversial, but the standard approach has often been criticized on the ground that it exaggerates the analogies and tends to ignore those features of normative concepts which distinguish them from other modalities. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely (...) solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use existing artworks, memory aids, and music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. (shrink)

This paper argues that the main global critiques of scientism lose their punch because they rely on an uncharitable definition of their target. It focuses on epistemological scientism and divides it into four categories in terms of how strong (science is the only source of knowledge) or weak (science is the best source of knowledge) and how narrow (only natural sciences) or broad (all sciences or at least not only the natural sciences) they are. Two central arguments against scientism, the (...) (false) dilemma and self‐referential incoherence, are analysed. Of the four types of epistemological scientism, three can deal with these counterarguments by utilizing two methodological principles: epistemic evaluability of reliability and epistemic opportunism. One hopes that these considerations will steer the discussion on scientism to more fruitful pastures in the future. For example, there are interesting methodological considerations concerning what evaluability or reliability and epistemic opportunism entail. (shrink)

This essay argues that a new subfield of AI governance should be explored that examines the policy-making process and its implications for AI governance. A growing number of researchers have begun working on the question of how to mitigate the catastrophic risks of transformative artificial intelligence, including what policies states should adopt. However, this essay identifies a preceding, meta-level problem of how the space of possible policies is affected by the politics and administrative mechanisms of how those policies are created (...) and implemented. This creates a new set of key considerations for the field of AI governance and should influence the action of future policymakers. This essay examines some of the theories of the policymaking process, how they compare to current work in AI governance, and their implications for the field at large and ends by identifying areas of future research. (shrink)

Jaakko Hintikka proposed treating objectual perception sentences, such as “Alice sees Bob,” as de re propositional perception sentences. Esa Saarinen extended Hintikka’s idea to eventive perception sentences, such as “Alice sees Bob smile.” These approaches, elegant as they may be, are not philosophically neutral, for they presuppose, controversially, that the content of all perceptual experiences is propositional in nature. The aim of this paper is to propose a formal treatment of objectual and eventive perception sentences that builds on Hintikka’s (...) modal approach to propositional attitude ascriptions while avoiding controversial assumptions on the nature of perceptual experiences. Despite being simple and theoretically frugal, our approach is powerful enough to express a variety of interesting philosophical views about propositional, objectual, and eventive perception sentences, thus enabling the study of their inferential relationships. (shrink)