There is an intuitive connection between well-being and happiness. Accordingly, many theories of well-being hold that well-being consists in (either unqualified or properly qualified) happiness. Traditional happiness-based theories are subject, however, to several important objections. The goal in this chapter is to offer a new happiness-based theory that is immune to the main objections raised against traditional happiness-based theories. The authors’ own fitting happiness theory of well-being can be seen as the combination of the following claims. (...) The first is that happiness consists in a broadly positive balance of affective states such as emotions, moods, and sensory pleasures. The second is that emotions, moods, and sensory pleasures are different kinds of perceptual experiences of evaluative properties. The third claim is that, insofar as happiness is constituted by states that have fittingness conditions, it is possible to assess happiness itself as fitting or unfitting. The last claim is that well-being consists in fitting happiness thus defined. (shrink)

Our emotional states affect how we perceive the world. If I am stressed, annoyed, or irritated, I might experience the sound of children laughing and screaming as they play around the house in a negative manner — it is unpleasant, loud, piercing, and so on. Yet, if I’m in a relaxed, happy, loving mood, the very same sounds might be experienced as pleasant, playful, warm, and so on. The sounds being made by the children are the same in both cases, (...) but how they are experienced differs. The auditory experience is affected by the emotional state that I am in. I perceive the sounds differently depending on how I’m feeling. Although this might at first seem to be a trivial observation, it certainly is not. We take for granted that our perceptual experiences give rise to justified beliefs and knowledge. Thus, if my perceptual experience of an object can differ based on my emotional state, and I take my perceptual experience to justify my beliefs and even lead to knowledge, then we might have a problem. If emotions — which are not fixed and in large part uncontrolled — affect our ability to accurately perceive the world, then they may undermine the justified beliefs and knowledge gained on the basis of our perceptual experience of the world. My goal here is to explore this potential problem. -/- I consider how we might understand the effect that emotions have on the justification of our perceptual beliefs about the world, beliefs that we acquire from a variety of sensory modalities — audition, gustation olfaction, and so on. I take the problem to be associated with one of two forms of perceptual influence: penetration or multisensory integration. In any given perceptual moment there are multiple sensory modalities and mental states at play, each affecting the overall experience. Whether we understand the influence of emotion on perception as a form of non-perceptual penetration or a form of non-visual sensory perception of the inner body — interoception — the potential epistemological difficulties remain: how can we be said to acquire justified beliefs and knowledge on the basis of such influenced perceptual experience. As has been the norm, only the five exteroceptive senses of vision, audition, olfaction, taste and touch are typically discussed in the context of sensory perception. However, as I argue, there is strong reason to accept the claim that emotional experience is a form of interoception, and that interoception ought to be considered when discussing sensory perception. In this way, then, I propose that clarifying the role played by interoception in sense perception across modalities is necessary if we are to make progress on the epistemological problems at hand. (shrink)

It is a familiar feature of our affective psychology that our moods ‘crystalize’ into emotions, and that our emotions ‘diffuse’ into moods. Providing a detailed philosophical account of these affective shifts, as I will call them, is the central aim of this paper. Drawing on contemporary philosophy of emotion and mood, alongside distinctive ideas from the phenomenologically-inspired writer Robert Musil, a broadly ‘intentional’ and ‘evaluativist’ account will be defended. I argue that we do best to understand important features of these (...) affective shifts – which I document across this paper – in terms of intentional and evaluative aspects of the respective states of moods and emotion. At same the time, the account is pitched at the phenomenological level, as dealing with affective shifts primarily in terms of moods and emotions as experiential states, with respect to which it feels-like-something to be undergoing the relevant affective experience. The paper also applies the intentional-evaluative model of affective shifts to anxiety in more detail, developing the idea that certain patterns of affective shift, particularly those that allow for a kind of ‘emotional release’, can contribute to a subject’s well-being. (shrink)

Evaluative concepts and emotions appear closely connected. According to a prominent account, this relation can be expressed by propositions of the form ‘something is admirable if and only if feeling admiration is appropriate in response to it’. The first section discusses various interpretations of such ‘Value-Emotion Equivalences’, for example the Fitting Attitude Analysis, and it offers a plausible way to read them. The main virtue of the proposed way to read them is that it is well-supported by a promising (...) account of emotions, namely the Perceptual Theory of Emotions, which emphasises the analogies between emotions and sensory perceptual experiences. The second section considers a worry about whether concepts such as admirable are really evaluative. It is maintained that even though the arguments used to show that thick terms and concepts are not inherently evaluative can be transposed to affective concepts, these arguments can be resisted. So there is no need to abandon the intuitive claim that affective concepts are inherently evaluative. (shrink)

In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more accessible (...) to us, by creating image schemas that allow us to think about these abstract concepts in a way linked to sensory experience, thereby imbuing them with a more substantive meaning and understanding. (shrink)

Pets are truly great companions. Some individuals feel that owning a pet can help them prepare for a growing family by giving them a taste of what it would be like to have children. This study also looks into the psychological well-being and life experiences of LGBT fur parents. Employing the Interpretative Phenomenological Analysis, the findings of this study were: (1) With the presence of fur babies, participants had the ease to overcome stressful events, especially the ones that affect (...) their mental health. With these, they have the desire to take care of their fur babies under all circumstances because they see their fur babies as family members. Fur babies are excellent sources of motivation, confidence, and happiness for fur parents. They are treated as family members because they contribute to the mental and emotional aspects of fur parents. Moreover, the majority of respondents valued their pets far more than their actual family members, however, some didn't spend as much time with their relatives and friends. This study comes to the conclusion that a stronger bond with one's dog was also linked to higher anxiety about being unloved and rejected by family members and people surrounding us, which was linked to a heavier impact on one's psychological well-being. In reality, fur parents, especially LGBT parents, offer their fur babies a lot of love and attention compared to other things. (shrink)

What constitutes a “good” life—not necessarily a morally good life, but a life that is good for the person who lived it? In response to this question of “well-being," philosophers have offered three significant answers: A good life is one in which a person can satisfy their desires (“Desire-Satisfaction” or “Preferentism”), one that includes certain good features (“Objectivism”), or one in which pleasurable states dominate or outweigh painful ones (“Hedonism”). To adjudicate among these competing theories, moral philosophers traditionally gather (...) data from thought experiments and intuition. In this chapter, we supplement that traditional approach with a pair of experimental studies that examine whether the three theories reflect laypeople’s intuitions about well-being. The empirical studies yield two primary findings. First, they provide evidence for lay "well-being pluralism": laypeople treat desire satisfaction, positive objective conditions, and happiness as all constitutive of well-being. Second, the studies provide evidence of "hedonic dominance": laypeople evaluate an individual’s happiness as more important to an individual’s overall well-being than desire satisfaction or objective conditions. (shrink)

Happiness, like other basic emotions, has visual properties that create the conditions for happiness to be perceived in others. This is to say that happiness is perceivable. Its visual properties are to be identified with those facial expressions that are characteristic of happiness. Yet saying that something is perceivable does not suffice for us to conclude that it is perceived. We therefore need to show that happiness is perceived. Empirical evidence suggests that the visual system functions to perceive happiness as (...) well as other basic emotions. Experiences that can be had simply by virtue of how the perceptual system functions are known as observations. I will thus argue that visual experiences in which we become aware of others’ happiness are observations. This approach will provide the necessary conceptual framework to show that we have perceptual knowledge of others’ happiness. (shrink)

In the past decade, three philosophers in particular have recently explored the relation between desert and intrinsic value. Fred Feldman argues that consequentialism need not give much weight – or indeed any weight at all – to the happiness of persons who undeservedly experience pleasure. He defends the claim that the intrinsic value of a state of affairs is determined by the “fit” between the amount of well-being that a person receives and the amount of well-being that the (...) person deserves. Shelly Kagan uses a similar claim to motivate the view that equality is not intrinsically valuable. Thomas Hurka argues that desert is a third-order value, which is a function of the relation between the second-order value of having a virtuous or vicious character and the first-order value of experiencing pleasure or pain. In this paper, we sketch a theory of desert as fittingness and defend a general account of the relation between desert, well-being, and intrinsic value. We then discuss various applications of our “geometry of desert,” including a solution to the problem of the Repugnant Conclusion. In so doing, we explain, revise, and extend many of these authors’ central ideas. (shrink)

Abstract: Each affective state has distinct motor-expressions, sensory perceptions, autonomic, and cognitive patterns. Panksepp (1998) proposed seven neural affective systems of which the SEEKING system, a generalized approach-seeking system, motivates organisms to pursue resources needed for survival. When an organism is presented with a novel stimulus, the dopamine (DA) in the nucleus accumbens septi (NAS) is released. The DA circuit outlines the generalized mesolimbic dopamine-centered SEEKING system and is especially responsive when there is an element of unpredictability in forthcoming (...) rewards. We propose that when the outcome of this interaction is unexpected or unanticipated then Panksepp’s “cognitive or expectancy reset” mechanism involving the cognitive dissonance would yield the subjective emotion of surprise. In order to appropriately react to the environment’s stimuli one needs fundamental processes that would enable one to distinguish between what is novel and what has been already experienced, as well as the different degrees of novelty. Novel events are those whose essential features of the representation (visceral and perceptual) are altered and being discrepant provoke more sustained attention. Novelty arises from salient and arousing events and the organism experiences surprise, as coming out of a habitual state. In this framework, we shall look at established theories of emotions and propose a different approach to their taxonomy. (shrink)

The philosophical debate around moods has mainly focused on whether and how their seeming recalcitrance to representationalist treatment can be overcome by accommodating moods’ apparent undirectedness through a peculiar representational structure. Through these theoretical efforts, though, most theorists have taken a double wrong turn (or so I argue), by maintaining that (i) (if directed,) moods are outwardly directed (i.e., directed toward something external to and independent of the subject’s mind) and (ii) moods are discrete mental states (on a par with (...) emotions, perceptual experiences, thoughts, etc.). By pointing at three as yet overlooked phenomenological features of moods—subjective salience, undetachability, and globality—I suggest that moods are (i) inwardly oriented (i.e., they pertain to the subjective aspect of experience and, if directed at all, they are directed toward one’s experiences) and (ii) structural features of consciousness (rather than discrete mental states). I thus explore a new approach to the nature of mood experience, one that aims to do justice to those phenomenological features: I call this the “ways of inner awareness” view. On this view, moods are ways of being aware of one’s own experiences. Different versions of the view may be developed, depending on various metaphysical commitments. I do not defend or recommend, here, any specific version. The aim of the paper is to motivate the general ways-of-inner-awareness approach to mood and hint at some possible ways it may be elaborated. (shrink)

The philosophical debate around the nature of moods has mostly focused on their apparent undirectedness: unlike mental states such as perceptual experiences, thoughts, and emotions, moods do not seem to be directed at any specific object, and indeed they do not seem to be directed at anything at all. In this paper, I want to draw attention to a different feature of moods, one that is as important and in need of explanation as their apparent undirectedness, but which has (...) been overlooked by most participants in the debate: the fact that moods involve a particularly marked salience of the subjective aspect of experience. I argue that any adequate theory of moods should account for this fact. I call this the “subjective salience desideratum.” In the bulk of the paper, I articulate and motivate the desideratum, show that extant theories of moods do not satisfy it, and offer a preliminary overview of possible (yet unexplored) theories that have the subjective salience desideratum at their core. (shrink)

Recent results from the neurosciences demonstrate that pleasure and pain are not two symmetrical poles of a single scale of experience but in fact two different types of experiences altogether, with dramatically different contributions to well-being. These differences between pleasure and pain and the general finding that “the bad is stronger than the good” have important implications for our treatment of nonhuman animals. In particular, whereas animal experimentation that causes suffering might be justified if it leads to the prevention (...) of more suffering, it can never by justified merely by leading to increased levels of happiness. (shrink)

Past research has found that the value of a person's activities can affect observers' judgments about whether that person is experiencing certain emotions (e.g., people consider morally good agents happier than morally bad agents). One proposed explanation for this effect is that emotion attributions are influenced by judgments about fittingness (whether the emotion is merited). Another hypothesis is that emotion attributions are influenced by judgments about the agent's true self (whether the emotion reflects how the agent feels “deep down”). (...) We tested these hypotheses in six studies. After finding that people think a wide range of emotions can be fitting and reflect a person's true self (Study 1), we tested the predictions of these two hypotheses for attributions of happiness, love, sadness, and hatred. We manipulated the emotions' fittingness (Studies 2a-b and 4) and whether the emotions reflected an agent's true self (Studies 3 and 5), measuring emotion attributions as well as fittingness judgments and true self judgments. The fittingness manipulation only impacted emotion attributions in the cases where it also impacted true self judgments, whereas the true self manipulation impacted emotion attribution in all cases, including those where it did not impact fittingness judgments. These results cast serious doubt on the fittingness hypothesis and offer some support for the true self hypothesis, which could be developed further in future work. -/- . (shrink)

Perceptualism is a prominent theory analyzing emotions as perceptual experiences of value. A longstanding challenge to perceptualism says that emotions cannot be perceptual because they are subject to normative assessments in terms of reasons and rationality while perceptual experiences are not. I defend perceptualism from this charge. My argument begins by distinguishing two forms of normative assessment: fundamental and non-fundamental. Perceptualism is compatible with the latter (i.e., non-fundamental reasons and rationality); even sensory experiences are so assessable. (...) I next argue that emotions are only non-fundamentally assessable. Following this argument, I outline a perceptualist-friendly theory of emotions as non-fundamentally normatively assessable. (shrink)

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)

Several tensions run through philosophical debates on the nature of pleasure: is it a feeling or an attitude? Is it excited engagement during activities, or satisfaction and contentment at their completion? Pleasure also plays fundamental explanatory roles in psychology, neuroscience, and animal behavior. I draw on this work to argue that pleasure picks out two distinct, but interacting neurobiological systems with long evolutionary histories. Understanding pleasure as having these two facets gives us a better account of pleasure and explains the (...) persistent tensions in the concept. This account of pleasure also sheds light on happiness and well-being. (shrink)

Multisensory processing encompasses all of the various ways in which the presence of information in one sensory modality can adaptively influence the processing of information in a different modality. In Part I of this survey article, I begin by presenting a cartography of some of the more extensively investigated forms of multisensory processing, with a special focus on two distinct types of multisensory integration. I briefly discuss the conditions under which these different forms of multisensory processing occur as (...) class='Hi'>well as their important perceptual consequences and interrelations. In Part II, I then turn to examining of some of the different possible ways in which the structure of conscious perceptual experience might also be characterized as multisensory. In addition, I discuss the significance of research on multisensory processing and multisensory consciousness for philosophical attempts to individuate the senses. (shrink)

Cycling is one of the typical recreational activities, transportation, and sport among elderly adults in the Philippines. Based on the study, cycling provides many benefits to physical health, promotes well-being, contributes to improved quality of life, and is a great way for elderly adults to prevent depression, anxiety, and other mental health issues. As cycling becomes more prevalent during pandemics, the road has changed to include adding more bicycle lanes. Thus, the researchers explore the lived experiences of senior cyclists, (...) specifically: (1) to describe the experiences, (2) challenges, and (3) coping mechanisms. Correspondingly, the study used fifteen (15) participants in an Interpretative Phenomenology Analysis (IPA) procedure. The following findings are drawn from the study: (1) Most of the senior cyclists experienced life-threatening events while cycling, they experienced a high level of satisfaction and happiness, (2) Most senior cyclists are not bothered by the difficulties that others might view as a barrier to them continuing to pedal with passion. (3) Despite all the obstacles they may encounter, senior cyclists choose to get through those challenges by being understanding, patient, and calm. (shrink)

Perception is said to have assertoric force: It inclines the perceiver to believe its content. In contrast, perceptual imagination is commonly taken to be non-assertoric: Imagining winning a piano contest does not incline the imaginer to believe they actually won. However, abundant evidence from clinical and experimental psychology shows that imagination influences attitudes and behavior in ways similar to perceptual experiences. To account for these phenomena, I propose that perceptual imaginings have implicit assertoric force and put forth (...) a theory—the Prima Facie View—as a unified explanation for the empirical findings reviewed. According to this view, mental images are treated as percepts in operations involving associative memory. Finally, I address alternative explanations that could account for the reviewed empirical evidence—such as a Spinozian model of belief formation or Gendler’s notion of alief—as well as potential objections to the Prima Facie View. (shrink)

Can perceptual experiences be states of uncertainty? We might expect them to be, if the perceptual processes from which they're generated, as well as the behaviors they help produce, take account of probabilistic information. Yet it has long been presumed that perceptual experiences purport to tell us about our environment, without hedging or qualifying. Against this long-standing view, I argue that perceptual experiences may well occasionally be states of uncertainty, but that they are never (...) probabilistically structured. I criticize a powerful line of reasoning that we should expect perceptual experience to be probabilistic, given their interfaces with unconscious probabilistic information, with behavior responsive to it, and with credences. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

One of the central limitations of sensory substitution devices (SSDs) is their inability to reproduce the non-sensory feelings that are normally associated with visual experiences, especially hedonic and aesthetic responses. This limitation is sometimes reported to cause SSD users frustration. To make matters worse, it is unclear that improvements in acuity, bandwidth, or training will resolve the issue. Yet, if SSDs are to actually reproduce visual experience in its fullness, it seems that the reproduction of non-sensory feelings (...) will be of some importance. We offer a novel solution. Researchers can produce hedonic and aesthetic responses by eliciting these feelings artificially, pairing distal objects that should be pleasurable to pleasurable stimulus outputs from the SSD. We outline two strategies for accomplishing this: first, by means of a prefixed, hardwired, association of pleasant distal objects to pleasant stimulus outputs from the SSD; second, by means of a flexible, feedback-based association which creates associations based on a subject-directed matching of distal objects to patterns of stimuli from the SSD which the subject takes to have the corresponding hedonic properties. We evaluate some problems with both strategies, and we argue that the feedback-based strategy is more promising. Researchers can use this strategy to help the blind, allowing them to take pleasure in the objects they perceive using SSDs. (shrink)

In perceptual experience we are directed towards objects in a way which establishes a real relation between a mental act and its target. In reading works of fiction we enjoy experiences which manifest certain internal similarities to such relational acts, but which lack objects. The substitution theory of art attempts to provide a reason why we seek out such experiences and the artifacts which they generate. Briefly, we seek out works of art because we enjoy the physiology and the (...) phenomenology of, for example, the experience of love or mountain climbing, and works of art serve as props for the promotion of substitutes for the corresponding genuine feelings. Art arose, or came to be separated out from other, related phenomena, through the discovery that the experience of substitute emotions can be pleasurable. (shrink)

Philosophers tended to identify happiness with either subjective psychological states or conditions (feelings, emotions or a set of judgments), or with the objective conditions of a life—how well the life is going for the person living it. Each approach captures different but important features of our intuitions, making it difficult to accept either a purely subjective or objective view. This has led some philosophers to suggest that these are not competing accounts of one thing, ‘happiness,’ but accounts of several (...) different things. Others propose that happiness is a matter of possessing both the relevant subjective and objective properties. I think this latter view is right, but that we need to better understand why or how these two elements are important and how they might be linked. In this paper I argue that an affect theory of happiness is best able to reconcile both the subjective and objective strands of our intuitions about happiness. (shrink)

In a recent paper in this journal, Tobias Fuchs has offered a ‘working test’ for well-being. According to this test, if it is fitting to feel compassion for a subject because they have some property, then the subject is badly off because they have that property. Since subjects of deception seem a fitting target for compassion, this test is said to imply that a number of important views, including hedonism, are false. I argue that this line of reasoning is (...) mistaken: seems fitting does not imply is badly off. I suggest that Fuchs’s test can tell us little about well-being that we do not already know; and ultimately, tests of the sort he proposes can yield little insight into the nature of well-being. (shrink)

Tomasi, D. 2024. Psychotherapy: Essence, Experience, and Examination. Foreword to Adler, D. 2024. What we really need – Experiences of a psychoanalyst. New York, NY: Ibidem Verlag / Columbia University Press, Original: Adler, D. 2023. Was wir wirklich brauchen: Erfahrungen eines Psychoanalytikers. Stuttgart, D: Schattauer / Klett-Cotta Verlag -/- Psychotherapy: Essence, Experience, and Examination Foreword to Dieter Adler: What we Truly Need – Experiences of a Psychoanalyst. -/- In any serious, scientific, and ethically justified healthcare profession, the focus should be (...) always on the overall health, treatment, improvement, and amelioration of the patient. What clinical and professional background should therefore a mental health professional have? In his book, Adler does not want to simply offer a quick guide to self-help. In fact, he is clear about the fact that this is not the purpose of the book: “Maybe I’ll write one sometime: How you can reliably become independent of self-help books.” In fact, this book is a reflection on a 30-year-long professional career in which the author has learned to ask questions, to listen attentively, and to help shed light on some of the most complex and hidden aspects of what makes us human. To be sure, this does not mean that this book does not present a practical approach to well-being, quite the contrary. The author lists a series of areas the patient can focus on, in order to achieve a higher state of balance, healing, and happiness. Amongst these we find socialization, upbringing, and community, making friends, understanding and working on one’s emotions and the emotions of others, staying physically and mentally active, finding a sense of security and confidence, maintaining a sense of curiosity, finding a work-life balance and rediscovering peace and calmness, having goals, purposes, and meaning in life, and of course, understanding those negative, self-sabotaging mechanisms and processes which hinder such developments. (shrink)

What is the metaphysical nature of perceptual experience? What evidence does experience provide us with? These questions are typically addressed in isolation. In order to make progress in answering both questions, perceptual experience needs to be studied in an integrated manner. I develop a unified account of the phenomenological and epistemological role of perceptual experience, by arguing that sensory states provide perceptual evidence due to their metaphysical structure. More specifically, I argue that sensory states (...) are individuated by the perceptual capacities employed and that there is an asymmetric dependence between their employment in perception and their employment in hallucination and illusion. Due to this asymmetric dependence, sensory states provide us with evidence. (shrink)

In perceptual experience we are directed towards objects in a way that establishes a real relation between a mental act and its target. In reading works of fiction we enjoy experiences which manifest certain internal similarities to such relational acts, but which lack objects. The substitution theory of art attempts to provide a reason why we seek out such experiences and the artifacts which they generate. Briefly, we seek out works of art because we enjoy the physiology and the (...) phenomenology of, for example, the experience of love or mountain climbing, and works of art serve as props for the promotion of substitutes for the corresponding genuine feelings. Art arose, or came to be separated out from other, related phenomena, through the discovery that the experience of substitute emotions can be pleasurable. (shrink)

According to hedonism about well-being, lives can go well or poorly for us just in virtue of our ability to feel pleasure and pain. Hedonism has had many advocates historically, but has relatively few nowadays. This is mainly due to three highly influential objections to it: The Philosophy of Swine, The Experience Machine, and The Resonance Constraint. In this paper, I attempt to revive hedonism. I begin by giving a precise new definition of it. I then argue that (...) the right motivation for it is the ‘experience requirement’ (i.e., that something can benefit or harm a being only if it affects the phenomenology of her experiences in some way). Next, I argue that hedonists should accept a felt-quality theory of pleasure, rather than an attitude-based theory. Finally, I offer new responses to the three objections. Central to my responses are (i) a distinction between experiencing a pleasure (i.e., having some pleasurable phenomenology) and being aware of that pleasure, and (ii) an emphasis on diversity in one’s pleasures. (shrink)

This paper deals with a classical issue that remains at the core of the contemporary philosophical debate: the fact that the meaning of life is interlaced—in both negative and positive ways, with respect to morality—with happiness. On some historical conceptions, individual happiness must be sacrificed for the moral (universal, objective) good of a life, where the good fundamentally coincides with the meaning of life. On other approaches, happiness and flourishing (where flourishing is understood in terms of life’s meaningfulness) consist in (...) good action and a good life. On still other views, happiness, while equated with the meaning of life, is reduced to mere pleasure, to a sensorial state that can be influenced by outside forces. In the current literature, the prevailing interpretations of this question are largely deontological, eudaimonic or hedonic in character. Moving from the Schelerian theory of the stratification of the emotional life, and emphasizing the affective side of this broadly ethical question, this paper intends to examine this issue through the lens of phenomenology. From this perspective, the connection between happiness and the meaning not only of life but also of existence can be understood in light of what appears to underlie both phenomena: the entire existence of the individual, which is revealed most clearly in an act of personal love. Since this paper considers the condition humaine in all its complexity, that is to say, even in its fragility and vulnerability, within this framework I will also consider possible abnormal manifestations of happiness. Following Rümke’s clinical observations of pathological frameworks in which the feeling of happiness manifests itself, this paper shows how the deepest feeling of happiness, understood as a Schelerian personality feeling, can remain untouched by pathology. In his classic (but largely unappreciated) enquiry into the happiness syndrome, Rümke engages in a fruitful dialogue with Scheler, whose theory of the stratification of emotional life plays a crucial role in the former’s study of the phenomenology and the clinical aspects of happiness. Not only is Rümke’s Zur Phänomenologie und Klinik des Glücksgefühls an excellent example of applied phenomenology, but it also confirms the results of Scheler’s research on affective life. (shrink)

Conscious experiences involve subjective qualities, such as colours, sounds, smells and emotions. In this Perspective, we argue that these subjective qualities can be understood in terms of their similarity to other experiences. This account highlights the role of memory in conscious experience, even for simple percepts. How an experience feels depends on implicit memory of the relationships between different perceptual representations within the brain. With more complex experiences such as emotions, explicit memories are also recruited. We draw inspiration from (...) work in machine learning as well as the cognitive neuroscience of learning and decision making to make our case and discuss how the account could be tested in future experiments. The resulting findings might help to reveal the functions of subjective experience and inform current theoretical debates on consciousness. (shrink)

The highly enjoyable experiences associated with drinking good wines have been widely misunderstood. It is common to regard wine appreciation as an analytical or quasi-scientific kind of activity, in which wine experts carefully distinguish the precise sensory qualities of each wine, and then pass on their accumulated factual knowledge to less experienced wine enthusiasts. However, this model of wine appreciation is seriously defective. One good way to show its defects is to provide a better and more fundamental scientific account (...) of what is involved in wine appreciation. In order to do so, I outline a novel, evolutionarily based theory of perceptual consciousness that explains why there must be imaginative as well as analytical kinds of experiences of wines. In addition, imaginative wine experiences, unlike typical imaginative artistic experiences, may be shown to involve highly individualistic, improvisatory elements that help to give wine drinking a unique place among the recreational arts. (shrink)

What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of something intrinsically (...) negative. The second part emphasizes the importance of various distinctions within the realm of the negative. We must distinguish between adversity (which is non-mental) and negative mental states, and between negative thoughts (or attitudes) and negative affect. Within the realm of negative affect, we must distinguish between negative emotions and moods, on the one hand, and negative affective perspectives on the other, and then between mildly negative affective perspectives and severely negative ones (for which I reserve the term ‘suffering’). These distinctions matter greatly, since different types of negative experience have very different degrees of prudential disvalue. Although many types of negative experience may be “worth it”—because their positive extrinsic value outweighs their negative value—this is rarely true of severe suffering. (shrink)

Attitudinal Hedonism is a theory of well-being which claims that welfare consists in states of attitudinal pleasure. Fred Feldman characterizes attitudinal pleasure as a state of consciousness similar to attitudes of hope and fear or belief and doubt. He employs the term, enjoyment for the relevant conscious state of attitudinal pleasure and disenjoyment for attitudinal pain. Attitudinal pleasures and pains contrast with sensory pleasures like sex or drugs and sensory pains like cuts or bruises which are felt (...) with the senses in the same way that temperature is felt. So someone who enjoys sitting at home alone to quietly read a book experiences not sensory pleasure, but attitudinal pleasure. This makes Attitudinal Hedonism a much more plausible theory of well-being than Sensory Hedonism which would maintain that activities like quietly reading cannot increase one’s welfare even if one enjoys these activities. But Attitudinal Hedonism has a different flaw according to Peter de Marneffe who claims the view leads to the implausible conclusion that the concept of welfare does not apply to beings which are not capable of enjoyment or disenjoyment. In this paper I’ll defend Attitudinal Hedonism against de Marneffe’s objection. I’ll begin by examining de Marneffe’s objection more closely and identifying two distinct responses to it. First, I’ll argue that it is not a problem for Attitudinal Hedonism if the concept of welfare does not apply to the types of beings de Marneffe imagines. Second, I’ll propose a broader definition of attitudinal pleasure which allows us to apply the concept to de Marneffe’s hypothetical beings. For this purpose I’ll argue that attitudinal pleasure is the subjective satisfaction of desire. (shrink)

Tradition contrasts “cold,” motivationally-inert, “standard” perception with “hot,” motivationally-potent, emotion and affect. Against this backdrop, it has recently been argued that perceptual experiences have another fundamental phenomenal aspect, beyond their sensory aspects–perception in all sense-modalities is (at least often) Intrinsically valenced. Roughly, its phenomenal character is inherently pleasant or unpleasant, feeling good or bad to some degree. Yet, the revolutionary notion of Intrinsically Valenced Perception (IVP) requires elucidation and is fraught with theoretical difficulties. The paper aims to explicate (...) and address some foundational questions regarding the very notion of IVP: What is required for perception to be intrinsically valenced? Specifically, if perception itself is valenced, what should be the relations between its valenced aspects and sensory aspects? The paper identifies the relevant notion of IVP by uncovering various principles that express constraints and desiderata that IVP must meet. It further offers a Determination-Dimension Model of the relations between sensory and valenced aspects that aims to resolve the previously identified theoretical difficulties. (shrink)

When a user integrates a sensory substitution device into her life, the process involves perceptual learning, that is, ‘relatively long-lasting changes to an organism’s perceptual system that improve its ability to respond to its environment’ (Goldstone 1998: 585). In this paper, I explore ways in which the extensive literature on perceptual learning can be applied to help improve sensory substitution devices. I then use these findings to answer a philosophical question. Much of the philosophical debate (...) surrounding sensory substitution devices concerns what happens after perceptual learning occurs. In particular, should the resultant perceptual experience be classified in the substituted modality (as vision), in the substituting modality (as auditory or tactile), or in a new sense modality? I propose a novel empirical test to help resolve this philosophical debate. (shrink)

Moods and emotions are sometimes thought to be counterexamples to intentionalism, the view that a mental state's phenomenal features are exhausted by its representational features. The problem is that moods and emotions are accompanied by phenomenal experiences that do not seem to be adequately accounted for by any of their plausibly represented contents. This paper develops and defends an intentionalist view of the phenomenal character of moods and emotions on which emotions and some moods represent intentional objects as having sui (...) generis affective properties, which happen to be uninstantiated, and at least some moods represent affective properties not bound to any objects. (shrink)

Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic judgements may (...) be unreasoned, insofar as they are immediate judgements made on the basis of, and acquiring their justification from, causally prior sensory states. Yet they may also be reasoned, insofar as they may be the outputs of certain inferences. Crucially, a token aesthetic judgement may be unreasoned and reasoned, simultaneously. A key reason for allowing inference a serious role in aesthetic judgements emerges from reflection upon the nature of aesthetic expertise. (shrink)

Ronald de Sousa is one of the few analytic philosophers to have explored the ineffability of emotion. Ineffability arises, for de Sousa, from attempts to translate experience, which involves non-conceptual content, into language, which involves conceptual content. As de Sousa himself rightly notes, such a characterization construes all perceptual experience as ineffable and does not explain what might set emotional ineffability apart. I build on de Sousa’s insights regarding what makes emotional ineffability distinctive by highlighting that in the case (...) of emotion the content in question is, crucially, evaluative. Evaluative content has normativity that makes the ineffability of emotion both particularly salient as well as particularly relevant, as the way in which an object is valuable is felt to be merited despite the experience’s ineffability. After proposing an improved working definition of emotional ineffability, I move to the question of how language and emotional experience interact, and whether these interactions can be evaluated in any systematic way. While de Sousa is pessimistic regarding the prospects of such an evaluation, I argue that if we move beyond an individual level of analysis it is possible to characterize cases where the ineffability of emotion leaves members of particular social groups vulnerable to a range of epistemic and affective injustices. I argue that we can similarly characterize cases where the ineffability of emotion holds radical potential to challenge and transform unjust social arrangements. I end by proposing that the representational content of emotion involves what I call ‘modal complexity’ and that this makes emotions particularly well-suited to play such radical roles. (shrink)

In the contemporary era, thinkers abandoned the issue of the mind in a way that gives rise to the idea that it is essence or material, and addressed the issue of what are mental states, what are their characteristics? On the other hand, Islamic thinkers has always been concerned to the human soul. Fakhr Razi, a famous Muslim theologian, has significant opinions in the discussion of philosophical psychology. He considers the soul to be different from the body, and he has (...) studied a number of soul states and some of their characteristics. The current research deals with the question: what is the relationship between the states and qualities of the soul from Fakhr Razi's point of view and mentality in the contemporary philosophy of mind? In this search, some similarities between Fakhr Razi's opinions and contemporary mentality will be clarified; Emotional states such as pain and pleasure, and perceptual states from the point of view of Fakhr have certain characteristics such as the phenomenality and direct experience of these states for the soul. He has criticized Ibn Sina for not paying attention to these states in the definition of pleasure and pain. He also paid attention to science, which is one of the cognitive states, and it seems that by proposing the addition theory, he intended the consciousness for soul. (shrink)

The aesthetic construction of the world can originally be traced back to the bodily-affective state of being in the surroundings. In this respect, the newly developed aesthetic concept atmosphere enables a new understanding of the interaction between sensation, emotion and the environment, and is therefore of great importance for the development of a contemporary environmental awareness. In reviewing the studies so far, it would be meaningful to further reflect on the following questions: what role does the spiritual dimension play in (...) atmospheric experience? How is it possible for us to be critical of the atmosphere we encounter? How can a bodily-affective approach to the world be opened up by emphasizing atmospheric experience without excluding other legitimate aspects such as value judgments? These issues require re-examination of the current basic approach, according to which, on the one hand, atmospheric experience is largely confined to a pre-reflective level, and, on the other hand, sensation and awareness of atmosphere are viewed as occurring one after another. Practically, in the experience of atmosphere, corporeality and spirituality are not so clearly delineated, based on the fact that sensory recognition of external stimuli always merges with mental actions such as cognition, imagination, beliefs, values, memory and expectation. In this sense, the experience of atmosphere is not a purely biophysiological response at all. Instead, it is largely shaped by spiritual elements and cultural frameworks. The knowledge of traditions, customs, languages, religions, stories, folklore and/or mythology may modify the ordinary perception of things and thus open an unusual way to the atmosphere. The complexity of atmosphere and atmospheric perception reveals a diversity of life experience that can never be thoroughly represented and described, and thus largely opens up new horizons for an interculturally oriented aesthetics. (shrink)

In “Flourish,” the psychologist Martin Seligman proposed that psychological well-being consists of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes flourishing or psychological well-being has been long debated among scholars, the recent literature has suggested that a paradigmatic or prototypical case of psychological well-being would manifest most or all of the aforementioned PERMA factors. The recent literature on poetry therapy has also suggested that poetry practice may be utilized as “an effective (...) therapeutic tool” for patients suffering from a variety of ailments so it seems plausible that practicing poetry can positively contribute to one flourishing with greater psychological well-being. However, recent studies on poetry therapy have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to extant work by reviewing recent research on poetry therapy and psychological well-being and offering support for the claim that practicing poetry can positively contribute to one flourishing with greater psychological well-being by positively influencing their emotions, engagement or “flow” experiences, social relationships, sense of meaning or purpose in life, and personal accomplishments. (shrink)

This essay provides an analysis of the role of affectivity in Martin Heidegger's writings from the mid to late 1920s. We begin by situating his account of mood within the context of his project of fundamental ontology in Being and Time. We then discuss the role of Befindlichkeit and Stimmung in his account of human existence, explicate the relationship between the former and the latter, and consider the ways in which the former discloses the world. To give a more vivid (...) and comprehensive picture of Heidegger's account of mood, we focus on the experience of anxiety by articulating both its function within fundamental ontology and, relatedly, its revelatory nature. We conclude by considering the place of emotions in Heidegger's thinking from this period. In a companion essay, ‘Affectivity in Heidegger II: Temporality, Boredom, and Beyond’, we complement our present analysis by revisiting the issue of affectivity in terms of Heidegger's discussion of temporality in Division II of Being and Time. We also expand our present discussion by considering the fundamental mood of boredom and other specific moods that Heidegger considers within his later thinking. (shrink)

We can perceive shapes visually and tactilely, and the information we gain about shapes through both sensory modalities is integrated smoothly into and functions in the same way in our behavior independently of whether we gain it by sight or touch. There seems to be no reason in principle we couldn't perceive shapes through other sensory modalities as well, although as a matter of fact we do not. While we can identify shapes through other sensory modalities—e.g., (...) I may know by smell (the scent of mango) that the object causing my sensory experience is round—this is not perceiving an object as shaped, but rather inferring from the character of one's sensory experience and collateral information that an object of a certain shape caused it. That it is possible to perceive shape by other modalities, however, is suggested by the case of bats and aquatic mammals like dolphins which navigate through their environment by a form of sonar. It is plausible that they have some form of auditory representation of space, and so of shape. These facts about shape perception raise important questions about the relation between those features of perceptual experience which are intrinsic to different sensory modalities and the nature of our perceptual representation of shapes, and, more generally, of the space within which we perceive shaped objects to be located. John Campbell's paper, "Molyneux's Problem" (see above), raises a number of interesting and important questions about the nature of our perception of shape properties, particularly the cross-modal nature of shape perception, and ties them to more general questions about the nature both of perceptual.. (shrink)

The consensus in contemporary philosophy of mind is that how a perceptual experience represents the world to be is built into its sensory phenomenology. I defend an opposing view which I call ‘moderate separatism’, that an experience's sensory phenomenology does not determine how it represents the world to be. I argue for moderate separatism by pointing to two ordinary experiences which instantiate the same sensory phenomenology but differ with regard to their intentional content. Two experiences of (...) an object reflected in a mirror can possess the same spatial phenomenology while representing that object to occupy different spatial locations. So, contrary to the current consensus, the representation of spatial location is not fixed by an experience's sensory phenomenology. (shrink)

Sometimes we say that pleasure is distinct form joy, happiness, or good mood. Some other times we say the joy, happiness or good mood are types of pleasure. This suggests the existence of two concepts of pleasure: one specific, the other generic. According to the specific concept, pleasure is one type of positive affects among others. Pleasure is to be distinguished from joy, gladness, contentment, merriment, glee, ecstasy, euphoria, exhilaration, elation, jubilation; happiness, felicity, bliss, well-being; enjoyment, amusement, fun, rejoicing, (...) delectation, enchantment, delight, rapture, relish, thrill; satisfaction, gratification, pride, triumph; good mood, jollity, gaiety, cheerfulness; relief (or at least from some of these concepts). According to the generic concept of pleasure, a pleasure is any of these positive affects. Joy, gladness, contentment, merriment, glee, ecstasy, euphoria, exhilaration, elation, jubilation, happiness, felicity, bliss, well-being, enjoyment, amusement, fun, rejoicing, delectation, enchantment, delight, rapture, relish, thrill, satisfaction, gratification, pride, triumph, good mood, jollity, gaiety, cheerfulness, relief and pleasure in the specific sense are all species of pleasures. In this thesis, I shall focus on the generic concept of pleasure, in order to address the question “what is the property of pleasantness common to all positive affects?” In order to address this question nevertheless, one need to have at least rough grip on pleasure in the specific sense and on what distinguishes it from other positive affects. I shall therefore start by hinting at the problem of the definition of the specific concept of pleasure. (shrink)

ABSTRACT "Why can’t I decide to be happy?" This is the question that encapsulates the meaning behind Gabriele’s story, the main character of the novel Il film delle emozioni (The Movie of Emotions; Calabretta 2007a, in Italian). Gabriele is a victim of his negative emotions, and is completely in the power of his self-blame and self-devaluative thinking, which he learns to change only at the end of the novel, thanks to creativity and to the artistic expression of his own traumatic (...) experiences (see Sparrow and Wegner 2006). The novel tells of Gabriele’s several attempts at writing, first, the script of an autobiographical "educational" movie on emotion regulation; and then at transforming it into a novel. In reality, it reveals itself as a book popularizing the most recent scientific knowledge on psychology of emotions; as a dramatization of a scientist’s life—of his interior, interpersonal, and social conflicts (as well as political ones); and as a dramatization of the creative process of writing. As we will see in this article, The Movie of Emotions is a very particular novel that has much to do with creativity viewed in three different aspects—creativity in the novel’s structure, creativity in the process of the novel’s creation, and proposed techniques to increase creativity. (shrink)

Drawing on ideas from philosophy (in particular, epistemology), I argue that one of memory’s most important functions is to provide its owner with knowledge of the physical world. This knowledge helps satisfy the organism’s need to confer stability on an ever-changing reality so the objects in which it consists can be identified and reidentified. I then draw a distinction between sources of knowledge (i.e., from physical vs. subjective reality) and argue—based on evolutionary principles—that because memory was designed by natural selection (...) to interface with the physical world, knowledge acquired via sensory/perceptual experiences should be better remembered than internally generated knowledge made available by introspection. A study conducted to test this hypothesis provides support. I conclude that a serious interdisciplinary approach to issues typically considered the purview of psychology best enables researchers to craft well-specified, theoretically based hypotheses that directly target functions of the mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving seconds (...) too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)