Schemas contribute to adaptation, filtering novelty though knowledge-expectancy structures, the residue of past contingencies and their consequences. Adaptation requires a balance between flexible, dynamic context-sensitivity and the cognitive efficiency that schemas afford in promoting persistent goal pursuit despite distraction. Affects can form and disrupt schemas. Transient affective experiences systematically alter selectivity of attentiveness to the directly experienced present environment, the internal environment, and to the stored experiences of memory. Enduring personal stylistic predispositions, like implicit motives and affective schemas, influence how (...) experience is perceived, responded to, and integrated; they shape memory and influence present experiential patterns, individually and intersubjectively. Such systematic influences are potential sources of error in the study of memory if not mapped; so far, individual personality differences have just been a source of complication in the literature on emotion-congruent perception and memory. I synthesize what findings there are about how personality differences, emotions, and affects contribute to the structuring and integration of perceptions and memories both directly and by way of hot, affectively-anchored schemas. Case studies from experimental and personality psychology highlight a conception of personality and affective experience relevant to memory research and cognitive science. (shrink)

The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity was found in (...) musicians and high rumination scorers. Male musicians with above-median scores in rumination produced a larger number of clusters than the other male participants. Experiment 2 that engaged 23 participants demonstrated moderate consistency with which listeners grouped affects that they perceived in music and affects they experienced while listening to music. The study suggests that affective responses to music are subject to individual differences in musical expertise and rumination. Affects perceived in music and felt in response to it seem to be categorized with reference to the common principles. However, the cues that are used in such instances of categorization seem to be different. The paper encourages further research on the importance of listeners’ personal characteristics for the affective responses to music. (shrink)

Among philosophers of the emotions, it is common to view emotional content as purely descriptive – that is, belief-like or perception-like. I argue that this is a mistake. The intentionality of the emotions cannot be understood in isolation from their motivational character, and emotional content is also inherently directive – that is, desire-like. This view’s strength is its ability to explain a class of emotional behaviors that I argue, the common view fails to explain adequately. I claim that it is (...) already implicit in leading theories of emotion elicitation in cognitive psychology – “appraisal theories.” The result is a deeper understanding of emotional intentionality. Employing Peter Goldie’s “Feeling Theory” of the emotions as an example of the common view, I suggest that emotional feelings, too, should be understood on this model: emotional feelings toward items in the world cannot be disentangled from felt motivation. (shrink)