In this paper, I describe and discuss two mental phenomena which are somewhat neglected in the philosophy of mind: focused daydreaming and mind-wandering. My aim is to show that their natures are rather distinct, despite the fact that we tend to classify both as instances of daydreaming. The first difference between the two, I argue, is that, while focused daydreaming is an instance of imaginative mental agency, mind-wandering is not—though this does not mean that mind-wandering cannot involve mental agency at (...) all. This personal-level difference in agency and purposiveness has, furthermore, the consequence that instances of mind-wandering do not constitute unified and self-contained segments of the stream of consciousness—in stark contrast to focused daydreams. Besides, the two kinds of mental phenomena differ in whether they possess a narrative structure, and in how we may make sense of the succession of mental episodes involved. (shrink)

Basic Emotion Theory, or BET, has dominated the affective sciences for decades (Ekman, 1972, 1992, 1999; Ekman and Davidson, 1994; Griffiths, 2013; Scarantino and Griffiths, 2011). It has been highly influential, driving a number of empirical lines of research (e.g., in the context of facial expression detection, neuroimaging studies and evolutionary psychology). Nevertheless, BET has been criticized by philosophers, leading to calls for it to be jettisoned entirely (Colombetti, 2014; Hufendiek, 2016). This paper defuses those criticisms. In addition, it shows (...) that we have good reason to retain BET. Finally, it reviews and puts to rest worries that BET’s commitment to affect programs renders it outmoded. We propose that, with minor adjustments, BET can avoid such criticisms when conceived under a radically enactive account of emotions. Thus, rather than leaving BET behind, we show how its basic ideas can be revised, refashioned and preserved. Hence, we conclude, our new BET is still a good bet. (shrink)

El trabajo estudia la teoría humeana de la creencia en vistas a una caracterización preliminar de la noción de ficción dentro de su teoría y a un vínculo con sus tesis estéticas, especialmente con la posibilidad de apreciar una obra de arte y de poder tener una respuesta emotiva a ella. Para ello, en primer lugar, caracterizamos la noción de creencia y la de ficción en relación a la imaginación. En segundo lugar, discutimos la noción de “sistema poético” y su (...) relevancia a la hora de aportar a la ficción la vivacidad necesaria para constituir una experiencia estética agradable. El propósito principal es ubicar a Hume dentro del debate contemporáneo en torno a la “paradoja de la ficción”, bajo el supuesto de que tal inserción podría implicar algún aporte de relevancia teórica. (shrink)

I am grateful to Catharine Abell and Gregory Currie for their incisive and productive commentaries on Apt Imaginings. In what follows, I will try to respond to.

This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; and how such responses compare to those we have toward analogous circumstances (...) in real life. (shrink)

Many philosophical accounts of the emotions conceive of them as susceptible to assessments of rationality, fittingness, or some other notion of aptness. Analogous assumptions apply in cases of emotions directed at what are taken to be only fictional or only imagined. My question is whether the criteria governing the aptness of emotions we have toward what we take to be real things apply invariantly to those emotions we have toward what we take to be only fictional or imagined. I argue (...) that what counts as a reason justifying an emotion can differ across real, fictional, and imagined domains. (shrink)

Ethical perception involves seeing what is ethically salient about the particular details of the world. This kind of seeing is like informed judgment. It can be shaped by what we know and what we come to learn about, and by the development of moral virtue. I argue here that we can learn to see food justice, and I describe some ways to do so using three narrative case studies. The mechanism for acquiring this kind of vision is a “food justice (...) narrative” that is particular and concrete. These kinds of stories are counter narratives to a popular and dominant “script” about food that disguises the identity of people who eat, and obscures how constraints on free choice are created by particular lived circumstances. Food justice narratives specify the social and political location of individual people who are trying to nourish themselves. Once this contextual surround is included we are in a position to ask why this person, in this set of circumstances, is impeded in their access to nutritious food. This is not a question we are likely to consider if we leave out the identity of food consumers. Food justice narratives are forward looking as well because they bring into clearer focus what actions and kinds of social activism are appropriate responses to constraints on free choice. (shrink)

In contrast to mainstream accounts which explain the aesthetic experience of people with autism spectrum disorder (ASD) in terms of cognitive abilities, this paper suggests as an alternative explanation the “emotional abilities approach”. We present an example of a person with ASD who is able to exercise a variety of emotional abilities in aesthetic contexts but who has difficulties exhibiting their equivalents in interpersonal relations. Using an autobiographical account, we demonstrate first that there is at least one precedent where a (...) person with ASD can exercise a series of emotional abilities when engaging with art works. Second, we offer also an explanation about why aesthetic contexts might enable this person to exercise emotional abilities which in interpersonal contexts seem to be blocked. (shrink)

I take up three puzzles about our emotional and evaluative responses to fiction. First, how can we even have emotional responses to characters and events that we know not to exist, if emotions are as intimately connected to belief and action as they seem to be? One solution to this puzzle claims that we merely imagine having such emotional responses. But this raises the puzzle of why we would ever refuse to follow an author’s instructions to imagine such responses, since (...) we happily imagine many other implausible things. A natural response to this second puzzle is that our responses to fiction are real, and so can’t just be conjured up in response to an author’s demands. However, this simple response is inadequate, because we often respond differently to people and events in fiction than we would if we encountered them in real life. Solving these three puzzles in a consistent way requires the notion of a “perspective” on a fictional world. I sketch an account of this intuitive but frustratingly amorphous notion: perspectives are tools for organizing our thinking, which can in turn alter our emotional and evaluative responses. Cultivating a perspective can be illuminating, entertaining, or corrupting — or all three at once. (shrink)

The primary aim of this research is to develop a new philosophical analysis of the concept of character that reflects the complexity of people and meets the demands of moral explanation. It places the agent's particular perspective and the wider context at the centre of moral judgement. The reason for undertaking this project is to establish an account of morality that is not in conflict with discoveries in empirical psychology. It responds to the challenge that the situation usually has the (...) explanatory role and that character traits rarely function as explanations for action. It argues that the best interpretation of the situationist position is that reasons would have to be features of the situation to separate the situationist argument from behaviourism. However, it argues that this would then commit the situationist to a controversial theory of action where what explains an action need not obtain. It argues that to evaluate a person or his action properly we need to tell an explanatory story and that this narrative construction is what best reflects the richness and complexity involved. It further argues that an adequate attribution of character to an individual will also take narrative form. Hence character traits can explain action because a narrative explanation of why an individual acted in a certain way can also be an explanation of why a certain character can be attributed to that person. It argues that narrative has central importance in the attribution of character traits because the narrative structure gives us an understanding of character that cannot be gained from a non-narrative presentation of the actions and events. This additional knowledge connects with the emotions important to moral evaluation of persons and actions. (shrink)

Vor etwa einem Jahrhundert entwickelte sich im deutschsprachigen Raum imRahmen einer allgemeinen Charakterisierung unserer ästhetischen Erfahrungvon Kunst eine umfassende Debatte über die Natur und die Möglichkeit vonGefühlen über fiktionale Charaktere und Situationen. Die damalige Debatteweist große Ähnlichkeit zur heutigen analytischen Debatte über das Paradoxonder Fiktion auf. Trotz des unterschiedlichen jeweiligen historischen Kontextesfindet sich in der analytischen Debatte und in der Philosophie zu Beginn des20. Jahrhunderts fast der gleiche Lösungsansatz. Gefühle über Fiktionen seienQuasi-Gefühle, d.h. ein gefühlsartiges Phänomen mit einer Realität sui (...) generis ,dem im Unterschied zu den wirklichen Gefühlen kein Urteil über die Existenzdes Objektes zugrunde liegt und dem die Verbindung zur Motivation fehlt. Zieldieses Aufsatzes ist es, eine Untersuchung der These der Quasi-Gefühle An-fang des 20. Jahrhunderts zu unternehmen sowie die Analogien zur heutigenDebatte zu zeigen. Der Aufsatz baut sich um drei thematische Achsen herumauf. Zunächst wird eine historische Darstellung der These der Gefühle über Fiktionen bei Groos, Lipps, Lange, Geiger und Külpe unternommen. Diese bil-det den Rahmen für die Debatte über die Quasi-Gefühle in der Grazer Schule.Anschließend wird die Aufmerksamkeit auf die Diskussion über Quasi-Gefühle bei Meinong, Witasek, Saxinger und Schwarz gerichtet. Zuletzt wer-den die Berührungspunkte zur heutigen analytischen Debatte im Ausgang vonsystematischen Fragen aufgezeigt. (shrink)