Online research in philosophy

The current state of knowledge in psychology, cognitive neuroscience and behavioral ecology allows a fairly robust characterization of at least some, so-called ‘basic emotions’ - short-lived emotional responses with homologues in other vertebrates. Philosophers, however are understandably more focused on the complex emotion episodes that figure in folk-psychological narratives about mental life, episodes such as the evolving jealousy and anger of a person in an unraveling sexual relationship. One of the most pressing issues for the philosophy of emotion is the relationship between basic emotions and these complex emotion episodes. In this paper, I add to the list of existing, not necessarily incompatible, proposals concerning the relationship between basic emotions and complex emotions. I analyze the writings of ‘transactional’ psychologists of emotion, particularly those who see their work as a contribution to behavioral ecology, and offer a view of the basic emotion that focuses as much on their interpersonal functions as on their intrapersonal functions. Locating basic emotions and their evolutionary development in a context of processes of social interaction, I suggest, provides a way to integrate our knowledge of basic emotions into an understanding of the larger emotional episodes that have more obvious implications for philosophical disciplines such as moral psychology.

The two principal models of design in methodological circles in architecture—analysis/synthesis and conjecture/analysis—have their roots in philosophy of science, in different conceptions of scientific method. This paper explores the philosophical origins of these models and the reasons for rejecting analysis/synthesis in favour of conjecture/analysis, the latter being derived from Karl Popper’s view of scientific method. I discuss a fundamental problem with Popper’s view, however, and indicate a framework for conjecture/analysis to avoid this problem.

The discussion about relations between research and design has a number of strands, and presumably motivations. Putting aside the question whether or not design or “creative endeavour” should be counted as research, for reasons to do with institutional recognition or reward, the question remains how, if at all, is design research? This question is unlikely to have attracted much interest but for matters external to Architecture within the modern university. But Architecture as a discipline now needs to understand research much better than in the past when ‘research’ was whatever went on in building science, history or people/environment studies. In this paper, I begin with some common assumptions about design, considered in relation to research, and suggest how the former can constitute or be a mode of the latter. Central to this consideration is an understanding of research as the production of publicly available knowledge.

Design of information systems, on the one hand, is often dominated by pure technical considerations of performance, correctness or reliability. On the other hand, sociological analysis of the social impact of information technology is not transfered to operationalised design criteria and to practice. The paper discusses this contradiction and tries to overcome the gap between computer science and social sciences in design by analysing the history of design in architecture and fine arts as well as the approaches of contemporary design-oriented disciplines. Based on this analysis and on the broad discussion about human-centredness, foundations of a new Design Science are outlined. Consequences for the education of computer scientists and software designers are discussed.

The issues addressed in this commentary include: (1) the appropriate conceptualization of “appraisal”; (2) the nature and unfolding of emotional episodes over time; (3) the interrelationships between the dynamic elements of the appraisal process and their effects on other emotion components, as well as repercussions on ongoing appraisal in a recursive process; and (4) the use of brain research to constrain and inform models of emotion.

he design-based approach is a methodology for investigating mechanisms capable of generating mental phenomena, whether introspectively or externally observed, and whether they occur in humans, other animals or robots. The study of designs satisfying requirements for autonomous agency can provide new deep theoretical insights at the information processing level of description of mental mechanisms. Designs for working systems (whether on paper or implemented on computers) can systematically explicate old explanatory concepts and generate new concepts that allow new and richer interpretations of human phenomena. To illustrate this, some aspects of human grief are analysed in terms of a particular information processing architecture being explored in our research group. We do not claim that this architecture is part of the causal structure of the human mind; rather, it represents an early stage in the iterative search for a deeper and more general architecture, capable of explaining more phenomena. However even the current early design provides an interpretative ground for some familiar phenomena, including characteristic features of certain emotional episodes, particularly the phenomenon of perturbance (a partial or total loss of control of attention). The paper attempts to expound and illustrate the design-based approach to cognitive science and philosophy, to demonstrate the potential effectiveness of the approach in generating interpretative possibilities, and to provide first steps towards an information processing account of `perturbant', emotional episodes.