In earlier work I have claimed that emotion and some emotions are not `natural kinds'. Here I clarify what I mean by `natural kind', suggest a new and more accurate term, and discuss the objection that emotion and emotions are not descriptive categories at all, but fundamentally normative categories.

Abstract: One oft-cited feature of speech acts is their expressive character: Assertion expresses belief, apology regret, promise intention. Yet expression, or at least sincere expression, is as I argue a form of showing: A sincere expression shows whatever is the state that is the sincerity condition of the expressive act. How, then, can a speech act show a speaker's state of thought or feeling? To answer this question I consider three varieties of showing, and argue that only one of them (...) is suited to help us answer our question. I also argue that concepts from the evolutionary biology of communication provide one source of insight into how speech acts enable one to show, and thereby express, a psychological state. (shrink)

This chapter contains sections titled: Introduction Three Forms of Showing Showing How and Knowing How Perceiving Aspects and Affects Expressiveness and Showing How Congruence of Sensation and Affect Empathy and Epistemology Art and Skill.

Consciousness is a mongrel concept: there are a number of very different "consciousnesses." Phenomenal consciousness is experience; the phenomenally conscious aspect of a state is what it is like to be in that state. The mark of access-consciousness, by contrast, is availability for use in reasoning and rationally guiding speech and action. These concepts are often partly or totally conflated, with bad results. This target article uses as an example a form of reasoning about a function of "consciousness" based on (...) the phenomenon of blindsight. Some information about stimuli in the blind field is represented in the brains of blindsight patients, as shown by their correct "guesses," but they cannot harness this information in the service of action, and this is said to show that a function of phenomenal consciousness is somehow to enable information represented in the brain to guide action. But stimuli in the blind field are BOTH access-unconscious and phenomenally unconscious. The fallacy is: an obvious function of the machinery of access-consciousness is illicitly transferred to phenomenal consciousness. (shrink)

Considered one of the world's greatest novels, this controversial classic offers modern readers a vivid, timeless depiction of the clash between the older Russian aristocracy and the youthful radicalism that foreshadowed the revolution. Includes a new Introduction. Reissue.

Mitchell S. Green presents a systematic philosophical study of self-expression - a pervasive phenomenon of the everyday life of humans and other species, which has received scant attention in its own right. He explores the ways in which self-expression reveals our states of thought, feeling, and experience, and he defends striking new theses concerning a wide range of fascinating topics: our ability to perceive emotion in others, artistic expression, empathy, expressive language, meaning, facial expression, and speech acts. He draws on (...) insights from evolutionary game theory, ethology, the philosophy of language, social psychology, pragmatics, aesthetics, and neuroscience to present a stimulating and accessible interdisciplinary work. (shrink)

The first edition of Blindsight, written by Lawrence Weiskrantz was an important and highly cited account of studies of the phenomenon - Blindsight. The updated edition retains the original text of the first edition, but brings the book up to date with developments in this area in the past decade.

Paul E. Griffiths argues that most research on the emotions has been as misguided as Aristotelian efforts to study "superlunary objects" - objects...

Cross-cultural research on facial expression and the developments of methods to measure facial expression are briefly summarized. What has been learned about emotion from this work on the face is then elucidated. Four questions about facial expression and emotion are discussed: What information does an expression typically convey? Can there be emotion without facial expression? Can there be a facial expression of emotion without emotion? How do individuals differ in their facial expressions of emotion?