Abstract: The perceptual model of emotions maintains that emotions involve, or are at least analogous to, perceptions of value. On this account, emotions purport to tell us about the evaluative realm, in much the same way that sensory perceptions inform us about the sensible world. An important development of this position, prominent in recent work by Peter Goldie amongst others, concerns the essential role that virtuous habits of attention play in enabling us to gain perceptual and evaluative knowledge. I think (...) that there are good reasons to be sceptical about this picture of virtue. In this essay I set out these reasons, and explain the consequences this scepticism has for our understanding of the relation between virtue, emotion, and attention. In particular, I argue that our primary capacity for recognizing value is in fact a non-emotional capacity. (shrink)

The distinction between cognitive and perceptual theories of emotion is entrenched in the literature on emotion and is openly used by individual emotion theorists when classifying their own theories and those of others. In this paper, I argue that the distinction between cognitive and perceptual theories of emotion is more pernicious than it is helpful, while at the same time insisting that there are nonetheless important perceptual and cognitive factors in emotion that need to be distinguished. A general representational metatheoretical (...) framework for reconciling cognitive and perceptual theories is proposed. This is the Representational Theory of Emotion (RTE). A detailed case study of Antonio Damasio's important new contribution to emotion theory is presented in defense of the RTE. The paper is intended for readers interested in the foundations of emotion theory and cognitive science. (shrink)

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

The word "truth" retains, in common use, traces of origins that link it to trust, troth, and truce, connoting ideas of fidelity, loyalty, and authenticity. The word has become, in contemporary philosophy, encased in a web of technicalities, but we know that a true image is a faithful portrait; a true friend a loyal one. In a novel or a poem, too, we have a feel for what is emotionally true, though we are not concerned with the actuality of events (...) and characters depicted. To have emotions is to care about certain things: we can wonder whether those things are really worth caring about. We can wonder whether our passions reflect who we are, and whether they constitute fitting responses to the vicissitudes of life. So there are two aspects to emotional truth: how well an emotion reflects the threats and promises of the world, and how well it reflects our own individual nature. That is the starting point of this book, which looks first at the analogies and disanalogies between strict propositional truth and a looser, "generic" sense of truth. As applied to emotions, generic truth is closer to those original meanings: as in a portrait's fidelity or friend's loyalty. Taken in this sense, the notion of emotional truth opens up large vistas on areas of life essential to our existence as social beings, and to our concerns with beauty, morality, love, death, sex, knowledge, desire, coherence, and happiness. Each of those topics illustrates some facet of the dominant theme of the book: the crucial but often ambivalent role of our emotions in grounding and yet also sometimes undermining our values. Emotions act, in holistic perspective, as ultimate arbiters of values where different and independently justified standards of value compete. (shrink)

There is a view of the emotions (I might tendentiously call it ‘cognitivism’) that has at present a certain currency. This view is of the emotions as playing an essential role in our gaining evaluative knowledge of the world. When we are angry at an insult, or afraid of the burglar, our emotions involve evaluative perceptions and thoughts, which are directed towards the way something is in the world that impinges on our well-being, or on the well-being of those that (...) matter to us. Without emotions, we would be worse off, prudentially and morally: we would not see things as they are, and accordingly we would not act as we should. Emotions are, according to this view a Good Thing. No wonder we have evolved as creatures capable of emotion.[1]. (shrink)

Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These two topics are (...) related, of course, because they nature of appreciation may bear on what things are worthy of that response, or at least on what things are likely to elicit it. So I will have some things to say about the latter. But I want to focus in this discussion on appreciation itself. When we praise a work of art, when we say it has aesthetic value, what does our praise consist in? This is a question about aesthetic psychology. I am interested in what kind of mental state appreciation is. What kind of state are we expressing when we say a work of art is “good”? This question has parallels in other areas of value theory. In ethics, most notably, there has been much attention lavished on the question of what people express when they refer to an action as “morally good.” One popular class of theories, associated with the British moralists and their followers, posits a link between moral valuation and emotion. To call an act morally good is to express an emotion toward that act. I think this approach to morality is right on target (Prinz, 2007). Here I want to argue that an emotional account of aesthetic valuation is equally promising. There are important differences between the two domains, but both have an affective foundation. I suspect that valuing of all kinds involves the emotions. Here I will inquire into the role of emotions in aesthetic valuing. I will not claim that artworks express emotions or even that they necessarily evoke emotions.. (shrink)

In one of the most frequently quoted passages in the history of emotion research, William James (1884: 189f) announces that emotions occur when the perception of an exciting fact causes a collection of bodily changes, and “our feeling of the same changes as they occur IS the emotion.” The same idea occurred to Carl Lange (1984) around the same time. These authors were not the first to draw a link between the emotions and the body. Indeed, this had been a (...) central theme of Descartes’ exquisite opus, The Passions of the Soul. But James and Lange wanted to push things farther than most, suggesting that emotions are exhausted by bodily changes or perceptions thereof. Other kinds of mental episodes might co-occur when we have an emotion state. For James, an emotion follows an exciting perception. But the exciting perception is not a part of the emotion it excited (Ellsworth, 1994, reads James differently, but see Reisenzein et al.’s 1995 convincing response). The majority of contemporary emotion researchers, especially those in philosophy, find this suggestion completely untenable. Surely, emotions involve something more. At their core, emotions are more like judgments or thoughts, than perceptions. They evaluate, assess, or appraise. Emotions are amendable to rational assessment; they report, correctly or incorrectly, on how we are faring in the world. Within this general consensus, there is a further debate about whether the body should figure into a theory of emotions at all. Perhaps James and Lange offer a theory that is not merely incomplete, but entirely off base. Where they view judgments as contingent and non-constitutive concomitants of emotions, it is actually bodily perceptions that deserve this demotion. Perhaps emotions can be, and often are, disembodied in some fundamental sense. (shrink)

Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.

Perceptual theories of emotion purport to avoid the problems of traditional cognitivism and noncognitivism by modelling emotion on perception, which shares the most conspicuous dimensions of emotion, intentionality and phenomenality. In this paper, I shall reconstrue and discuss four key arguments that perceptual theorists have presented in order to show that emotion is a kind of perception, or that there are close analogies between emotion and perception. These arguments are, from stronger to weaker claims: the perceptual system argument; the argument (...) from noninferential structure; the argument from epistemic role; and the argument from phenomenology. I argue that, while the arguments in favour of assimilating emotion to perception fail, the analogies between emotion and perception are not as close as perceptual theorists suggest even if some emotions resemble perception more than others, thanks to the two-levelled structure of emotional processing. (shrink)

One stream in contemporary philosophical and psychological study of the emotions argues that they are perceptual capacities. The present project is to compare and contrast two possible models of emotional perception. The central difference between these models is the notion of modularity, and the corresponding overall view of the nature of the mind, that they use. One model uses classic, Fodorian modules, which S.L. Hurley characterizes as “vertical”. The other model uses “horizontal” modules. I suggest some empirical tests that might (...) adjudicate between these different kinds of emotional modularity, and hence between these two models of emotional perception. I conclude with some remarks about the extent of the relevance of this issue. (shrink)

Philosophers since Aristotle have explored emotion, and the study of emotion has always been essential to the love of wisdom. In recent years Anglo-American philosophers have rediscovered and placed new emphasis on this very old discipline. The view that emotions are ripe for philosophical analysis has been supported by a considerable number of excellent publications. In this volume, Robert Solomon brings together some of the best Anglo-American philosophers now writing on the philosophy of emotion, with chapters from philosophers who have (...) distinguished themselves in the field of emotion research and have interdisciplinary interests, particularly in the social and biological sciences. The reader will find a lively variety of positions on topics such as the nature of emotion, the category of "emotion," the rationality of emotions, the relationship between an emotion and its expression, the relationship between emotion, motivation, and action, the biological nature versus social construction of emotion, the role of the body in emotion, the extent of freedom and our control of emotions, the relationship between emotion and value, and the very nature and warrant of theories of emotion. In addition, this book acknowledges that it is impossible to study the emotions today without engaging with contemporary psychology and the neurosciences, and moreover engages them with zeal. Thus the essays included here should appeal to a broad spectrum of emotion researchers in the various theoretical, experimental, and clinical branches of psychology, in addition to theorists in philosophy, philosophical psychology, moral psychology, and cognitive science, the social sciences, and literary theory. (shrink)

Emotions often misfire. We sometimes fear innocuous things, such as spiders or mice, and we do so even if we firmly believe that they are innocuous. This is true of all of us, and not only of phobics, who can be considered to suffer from extreme manifestations of a common tendency. We also feel too little or even sometimes no fear at all with respect to very fearsome things, and we do so even if we believe that they are fearsome. (...) Indeed, instead of shunning fearsome things, we might be attracted to them. Emotions that seem more thought-involving, such as shame, guilt or jealousy, can also misfire. You can be ashamed of your big ears even though we can agree that there is nothing shameful in having big ears, and even though you judge that having big ears does not warrant shame. And of course, it is also possible to experience too little or even no shame at all with respect to something that is really shameful. Many of these cases involve a conflict between one’s emotion and one’s evaluative judgement. Emotions that are thus conflicting with judgement can be called ‘recalcitrant emotions’. The question I am interested in is whether or not recalcitrant emotions amount to emotional illusions, that is, whether or not these cases are sufficiently similar to perceptual illusions to justify the claim that they fall under the same general heading. The answer to this depends on what emotions are. For instance, the view that emotions are evaluative judgments makes it difficult to make room for the claim that emotional errors are perceptual illusions. Fearing an innocuous spider would simply amount to making the error of judging that the spider is fearsome while it is in fact innocuous. This might involve an illusion of some sort, but it certainly does not amount to anything like a perceptual illusion. In this chapter, I argue that recalcitrant emotions are a kind of perceptual illusion.. (shrink)

This paper replies to an argument due to Greenspan (1980) and to Morton (2002) against the view that emotions are perceptions of values. The argument holds that this view cannot make room for ambivalent emotions both of which are appropriate, such as when it is appropriate to feel fear and attraction towards something. This would make for a contradiction, for appropriate emotions are supposed to present things as they are. The problem, I argue, is that this line of thoughts forgets (...) that things can have positive and negative aspects: something can both be dangerous and attractive, for instance. (shrink)

A number of emotion theorists hold that emotions are perceptions of value. In this paper I say why they are wrong. I claim that in the case of emotion there is nothing that can provide the perceptual modality that is needed if the perceptual theory is to succeed (where by ‘perceptual modality’ I mean the particular manner in which something is perceived). I argue that the five sensory modalities are not possible candidates for providing us with ‘emotional perception’. But I (...) also say why the usual candidate offered – namely feeling or affectivity – does not give us the sought-after perceptual modality. I conclude that as there seems to be nothing else that can provide the needed perceptual modality, we should reject the perceptual theory of emotion.1. (shrink)