Ambivalence is often presented through cases of defeated ambivalence and multivalence, in which opposed attitudes suggest mutual isolation and defeat each other. Properly understood, however, ambivalence implies the existence of poles that are conflictually yet rationally interlinked and are open to non-defeated joint conduct. This paper considers cases that range from indecisiveness and easy adoption of conflicting attitudes, to tragically conflicted deliberation and to cases of shifting between self-deceptively serious attitudes. Analyzing such cases as variants of defeated ambivalence, I (...) argue that the phenomena of defeated ambivalence are marginal to ambivalence even though they are by the same token exemplary of it. The poles in such cases are connected as opposing attitudes in such a way that the attitudes and the opposition are both undermined. The article focuses on two forms of vague multivalence, one of which is taken from Heidegger’s analysis of curiosity. (shrink)

Until very recently, there has been no discussion of aesthetic agency. This is likely because aesthetics has traditionally focused not on action, but on appreciation, while the standard approach identifies ‘agency’ with the will, and, more specifically, with the capacity for intentional action. In this paper, I argue, first, that this identification is unfortunate since it fails to do justice to the fact that we standardly attribute beliefs, emotions, desires, and other conative and (...) affective attitudes that aren’t formed ‘at will,’ including aesthetic appreciation, to people’s agency. Fortunately, we need not abide by this Practical Approach, but can develop an alternative: the Authority Approach to rational agency, which does justice to the widespread practice of rationally assessing, reactively responding to, and holding people responsible for non-voluntary attitudes. This is very good news for aesthetics since, I argue additionally, any account of aesthetic agency that accepts the Practical Approach, and focuses on aesthetic actions fails to provide a genuine notion of aesthetic agency. For we have no handle on what counts as aesthetic actions independently of these actions’ relation to appreciation: actions are “aesthetic” only derivatively insofar as they center around those that merit (dis)appreciation. For this reason, we have genuine aesthetic agency only if we can exercise agency in acts of the rational-affective capacity for appreciation, which differs from the will. The Authority Approach allows us to explain how we exercise agency in aesthetic appreciations, thus equipping us with a genuine conception of aesthetic agency. (shrink)

Modern tradition takes a person to be a rational (and moral) agent, namely an agent capable of acting on the basis of reasons – often desire-independent reasons, and particularly moral reasons. So, agency and freedom are involved in the definition of personhood. But what about the embodiment of persons? What about their rootedness in the particular circumstances of a human life – time, space, community of origin, material, and axiological culture? What about the individual identity of persons, their irreducible (...) individuality? The phenomenological notion of intentionality has a widely neglected richness of content, making it a key conceptual tool, capable of explaining not only consciousness but also rational agency, that is personhood, right from the level of the most basic and embodied instances of consciousness: perception, emotion, and spontaneous action. These should be considered as acts, rather than as states, and the discussion of the specific intentionality of these acts and their motivational relations purports to be an original contribution to a genetic phenomenology of embodied, individualized personhood and rational agency. (shrink)

In his fascinating new book Games: Agency as Art, Nguyen endorses an experiential requirement on aesthetic judgment: apt aesthetic judgment requires phenomenal experience. His own aesthetics of agency captures three phenomenally manifest and aesthetically significant harmonies (and corresponding disharmonies). But his view can be significantly extended to capture much more of the rich texture of human agency. In this discussion, I argue that emotions of agency, patterns of attention, and affordances all can be phenomenally (...) experienced as aspects of agency, and that each has genuine aesthetic significance. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. (...) In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

The book contains contributions by leading figures in philosophy of mind and action, emotion theory, and phenomenology. As the focus of the volume is truly innovative we expect the book to sell well to both philosophers and scholars from neighboring fields such as social and cognitive science. The predominant view in analytic philosophy is that an ability for self-evaluation is constitutive for agency and intentionality. Until now, the debate is limited in two (possibly mutually related) ways: Firstly, (...) self-evaluation is usually discussed in individual terms, and, as such, not sufficiently related to its social dimensions; secondly, self-evaluation is viewed as a matter of belief and desire, neglecting its affective and emotional aspects. The aim of the book is to fill these research lacunas and to investigate the question of how these two shortcomings of the received views are related. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a range of activities (...) and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a range of activities (...) and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

Includes emotional and affective feelings. Mood builds on the human organism's body, but you must turn to the development of affective experience of the body. I did not last for more than the physical body Zhumo, this article from the mood in the body discussed the rise of the body, to significant problems of the body by the body to experience over the body, as well as the physical body plays in the emotional life of role, will be particularly focused (...) on the discussion of the role of the brain. Basically, the emotional mood of the rise in the body surface of the body, but the emotion does not stop the body. Since the emergence of human consciousness with the intention of the role, so there are feelings of the development. Affective refers to the so-called intentional sexual feelings, especially those that point to the meaning and value of high-level emotions, such as aesthetic, moral feelings and religious sentiments. This paper illustrates how the human experience from the development of the aesthetic experience of the body, powered by the desire to develop a sense of beauty and art have meaning in the world. Furthermore, affective development also has its ethical dimension. This paper by discussing Aristotle's "practical wisdom", as well as Confucianism, Taoism-related ideas, show affection broad sense of the ethical dimension. Finally, to discuss the religious aspects of affective life, and do a little due. Human affectivity includes emotions and feelings. Emotions have their physiological foundation on human body as organism, whereas intertional feelings refer to body as lived. The present author has in his previous writings put emphasis on body as lived, but few words have touched upon body as organism. This paper makes a remedy on this point and attempts to deal with problems such as how emotions arises from body as organism so as to make clear the transition from body as organism to body as lived, and the role organic body played in our emotional life, focus being put on the functions of the brain. Basically speaking, the emotional aspect of human affectivity is originated from, but not limited to, organic body. I see our body as the locus of human desire, defined as a dynamic energy towards the meaningfulness of life. Because of the emergence of consciousness and its intentionality, we have a further development of life of our intentional feelings. "Intentional feeling" denotes those feelings with intentionality that directs iself towards meaningulness and values, especially those intending higher levels of mental activities such as aesthetic feeling, moral feeling and religious sentiment. We will discuss first how aesthetic feelings emerge from body as lived, in the way that desire as dynamism of meaning develops into a world of aesthetic values. Intentional feeling has its ethical dimensional, in the sense determined by Aristotle's idea of ​​phronesis, Confucian idea of ​​moral praxis and Daoist idea of ​​life praxis. In the end, this paper will try to shematize the religious dimension of intentional feeling. (shrink)

This is the first philosophical study of artifacts that is book length. In it Randall Dipert develops a theory of what artifacts are and applies it extensively to one of the most complex and intriguing kind of artifacts, art works. He presents his own account of what agents, intentions, and actions are, then uses these notions to clarify what it is for an agent to "make" something. From this starting point, he develops a full theory of artifacts and other artificial (...) things - and, especially, a theory of art works and performances of art works as artifacts. He proposes a theory of nature and of the value of nature as what is essentially nonartificial. Two chapters are devoted to value considerations: merit in artifacts generally, and the evaluation of art works and performance art as artifacts or intentional gestures. Believing that a developed theory of action and philosophy of mind is necessary for a developed aesthetics and philosophy of art, Dipert relies on classical and contemporary research on agency, actions, and intentions, and on the intentionalist theory of mental objects of Brentano and Meinong. Dipert considers artifacts to be physical entities, but he also includes in the definition thoughts, utterances, and performances. This vast category encompasses everyday household objects and tools, streets and edifices, as well as communicative and artistic artifacts. Especially with regard to artistic artifacts, Dipert proposes a theory of expression and communication as actions and extensively discusses the problems of interpreting and recognizing actions, artifacts, and art works. (shrink)

This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell's: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards's “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept is (...) straightway confused by the varied contexts in which “beauty” and “beautiful” may function. We hear much more often of a beautiful stroke in cricket than in painting, and many of our moral judgments have an aesthetic flavour. An action may be bold, dashing, mean, underhanded, unimaginative, cringing, fine, as well as right or wrong. Aesthetic adjectives and adverbs may occur in any context, and part of our job is to separate out the various uses and establish their inter-relationships. (shrink)

This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell's: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards's “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept is (...) straightway confused by the varied contexts in which “beauty” and “beautiful” may function. We hear much more often of a beautiful stroke in cricket than in painting, and many of our moral judgments have an aesthetic flavour. An action may be bold, dashing, mean, underhanded, unimaginative, cringing, fine, as well as right or wrong. Aesthetic adjectives and adverbs may occur in any context, and part of our job is to separate out the various uses and establish their inter-relationships. (shrink)

The contributions gathered in this volume present the state of the art in key areas of current social ontology. They focus on the role of collective intentional states in creating social facts, and on the nature of intentional properties of groups that allow characterizing them as responsible agents, or perhaps even as persons. Many of the essays are inspired by contemporary action theory, emotion theory, and theories of collective intentionality. Another group of essays revisits early phenomenological approaches to (...) social ontology and accounts of sociality that draw on the Hegelian idea of recognition. This volume is organized into three parts. First, the volume discusses themes highlighted in John Searle's work and addresses questions concerning the relation between intentions and the deontic powers of institutions, the role of disagreement, and the nature of collective intentionality. Next, the book focuses on joint and collective emotions and mutual recognition, and then goes on to explore the scope and limits of group agency, or group personhood, especially the capacity for responsible agency. The variety of philosophical traditions mirrored in this collection provides readers with a rich and multifaceted survey of present research in social ontology. It will help readers deepen their understanding of three interrelated and core topics in social ontology: the constitution and structure of institutions, the role of shared evaluative attitudes, and the nature and role of group agents. (shrink)

The contributions gathered in this volume present the state of the art in key areas of current social ontology. They focus on the role of collective intentional states in creating social facts, and on the nature of intentional properties of groups that allow characterizing them as responsible agents, or perhaps even as persons. Many of the essays are inspired by contemporary action theory, emotion theory, and theories of collective intentionality. Another group of essays revisits early phenomenological approaches to (...) social ontology and accounts of sociality that draw on the Hegelian idea of recognition. This volume is organized into three parts. First, the volume discusses themes highlighted in John Searle's work and addresses questions concerning the relation between intentions and the deontic powers of institutions, the role of disagreement, and the nature of collective intentionality. Next, the book focuses on joint and collective emotions and mutual recognition, and then goes on to explore the scope and limits of group agency, or group personhood, especially the capacity for responsible agency. The variety of philosophical traditions mirrored in this collection provides readers with a rich and multifaceted survey of present research in social ontology. It will help readers deepen their understanding of three interrelated and core topics in social ontology: the constitution and structure of institutions, the role of shared evaluative attitudes, and the nature and role of group agents. (shrink)

Emotions, like actions, this paper argues, are typically embodied processes that are responsive to reasons, where these reasons connect closely with the agent’s desires, intentions, or projects. If so, why are emotions, nevertheless, typically passive in a sense in which actions are not; specifically, why are emotions not cases of doing something intentionally? This paper seeks to prepare the ground for answering this question by showing that it cannot be answered within a widely influential framework in (...) the philosophy of action that has been dubbed the Standard Conception of Action, shared by such diverse theorists as G.E.M. Anscombe, Donald Davidson, Jennifer Hornsby, Michael Smith. and Michael Thompson. The Standard Conception approaches agency via the notion of someone’s doing something intentionally, and links the latter notion closely to that of doing something for a reason, so as to imply ‘Anscombe’s Thesis’ that, if someone is doing something for a reason, they are doing it intentionally. The paper shows how emotions, as reason-responsive embodied processes, counterexemplify this claim. Qua processes, they can aptly be described in the progressive, as cases of trembling with fear, exploding with anger, etc. They are a kind of ‘doing’ something, for a reason, yet not intentionally. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and-due to its unique in situ, immersive setting-is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, utilizing (...) a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson's exhibition "Baroque, Baroque" held at the Belvedere museum in Vienna. These were assessed by administered pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers' attention to both installed artworks and/or the museum environment. The data showed differences in participants' emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers' appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art pieces. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

The thesis defends the view that there are basic emotions---pancultural emotions that can be, but are not necessarily, propositional attitudes---and endorses a version of the affect program theory of emotions, augmented with a special stress upon the relation of emotions to motor capabilities and strategies. After developing a taxonomy of affects, I argue against the reduction of emotions to other mental states like belief, desire, or judgment. I then discuss how affects relate to belief. First, (...) I consider the claims of social constructionists about emotion, and argue that only a weakened version of this view is tenable. Second, I consider the issue of emoting for fictions, and argue this common occurrence is incompatible with a number of cognitivist theories of emotion. Both of these discussions suggest that a better theory of the relation of emotion to propositional contents is weak content cognitivism, the view that basic emotions can have propositional contents which need not be believed. In conclusion, I consider the relation between basic emotions and intentionality. I argue that basic emotions are object-directed, and that this kind of intentionality can be explained by way of considering basic emotions as actions. This allows me to describe how basic emotions relate to rationality, and offer a special consideration of the kind of ethical internalism that a naturalist theory of basic emotions supports. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by subscribing to (...) Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)

Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He shows how art objects embody complex intentionalities and mediate social agency, and he explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art (...) and Agency was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation. (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)

It is time to transcend the arid debate between rationality and ir-, a-, or non-rationality as our basic assumption about human agency.1 There are powerful arguments and extensive evidence both for and against the rationality assumption, with heavily defended entrenchments on both sides. Managers and management scholars continually make at least tacit assumptions about how they expect others to behave. If only we could have in both theory and practice the coherence and precision of rational models as well as (...) the descriptive richness of ‘behavioural’ approaches. The message of this paper is that perhaps we can. The advent of consciousness studies and, more recently, neuroeconomics would seem to indicate the way forward to transcend the opposition in some kind of synthesis. This paper investigates rationality in the light of Daniel Dennett’s thesis that it is at the core of all intentionality that is the defining characteristic of mental phenomena. Neuroeconomics seeks to enhance understanding of agency by investigating new insights on the materialist basis of mental phenomenology in the neurophysiology of the brain and nervous system. Experimental evidence mapping intentional states onto neurophysiological states is emerging, some researchers even claiming to have found a ‘neurophysiological utility function’. Dennett closes the circuit by locating the existence of brain-hardware supporting satisficing intentional choice and action as the output of evolutionary ‘design’. The dichotomy is transcended: satisficing models (of which normative optimising rational choice models are a reasonable abstraction) are a good basis both for statistical prediction of the behaviour of large numbers, and as the first base on which to construct and refine a model of expectation-formation about particular types of agent and then of individual agents. Using both the old (‘external’) and the new (sub-individual) behaviourism as well as work on unpacking the abstract notion of rationality, we can concretise optimising rational choice both generally, for epistemic theory-building purposes, and specifically for understanding and deploying models of managerial agency. Such models will need to incorporate emotion with cognition in an integrated approach. (shrink)

All too often, we think of our minds and bodies separately. The reality couldn’t be more different: the fundamental fact about our mind is that it is embodied. We have a deep visceral, emotional, and qualitative relationship to the world—and any scientifically and philosophically satisfactory view of the mind must take into account the ways that cognition, meaning, language, action, and values are grounded in and shaped by that embodiment. This book gathers the best of philosopher Mark Johnson’s essays (...) addressing questions of our embodiment as they deal with aesthetics—which, he argues, we need to rethink so that it takes into account the central role of body-based meaning. Viewed that way, the arts can give us profound insights into the processes of meaning making that underlie our conceptual systems and cultural practices. Johnson shows how our embodiment shapes our philosophy, science, morality, and art; what emerges is a view of humans as aesthetic, meaning-making creatures who draw on their deepest physical processes to make sense of the world around them. (shrink)

In our everyday psychologising, emotions figure large. When we are trying to explain and predict what a person says and does, that person’s emotions are very much among the objects of our thoughts. Despite this, emotions do not figure large in our philosophical reconstruction of everyday psychological practice—in philosophical accounts of the rational production and control of behaviour. Barry Smith has noted this point: We frequently mention people’s emotional sates when assessing how they behave, when trying to (...) understand why they say and do the things they say and do, and when deciding how to deal with them. A large part of our awareness of others and our ability to make sense of them depends on their emotional make-up and our appreciation of how this affects their thoughts and actions. All of this is missing from the standard accounts of folk psychology, and the key question is why? (2002, 111-2). Before beginning to answer to Smith’s question, I want to say more to characterise the approach in philosophical psychology which he is questioning. There are many detailed philosophical accounts of the rational production and control of behaviour. My aim here isn’t to examine these details, but to characterise a certain species of philosophical psychology—one which holds that one can explain the rational production and control of behaviour in terms of a narrow set of mental state types: belief, desire (and perhaps a few others: perception or intention). Hence my label for this species: ‘Humean psychology’. The orthodox Humean view is that rational agency can be explained adequately by appeal to the agent’s beliefs and desires. So, to borrow an example from Davidson (1978), we can explain a person’s adding salt to the stew by citing her desire that the will stew taste better and her belief that if.. (shrink)

Many important thinkers in the philosophical tradition, like Aristotle or Hume, have used an explicit theory of action as the basis of their respective normative theories of practical rationality and morality. The idea behind this architecture of theories is that action theory can inform us about the origin, bonds, reach and limits of practical reason. The aim of this book is to revive this direct connection between action theory and practical philosophy, in particular to provide systematic (...) class='Hi'>action-theoretical underpinnings for the discussion about the normative structure of practical reason. This book brings together a collection of specially commissioned essays from internationally prestigious scholars in the field and represents the state of the art in contemporary philosophy of action. The book is divided into three parts: i. conceptual work about what actions, intentions and intentional actions are; ii. empirical theory of practical deliberation; and iii.theories about the action theoretic features of autonomy. The volume significantly advances these three lines of research and offers important new contributions to each of them. (shrink)

Emotional responses to fiction are part of our experience with art and media. Some of these responses (“fictional emotions”) seem to be directed towards fictional entities—entities that we believe do not exist. Some philosophers argue that fictional emotions differ in nature from other emotional responses. (cf. Walton in J Philos 75(1):5–27, 1978, Mimesis as make-believe, Harvard University Press, Cambridge, 1990, Walton, in: Hjort, Laver (ed.) Emotion and the arts, Oxford University, New York, 1997; Currie in The nature of (...) fiction, Cambridge University Press, Cambridge, 1990; Stecker in Br J Aesthet 51(3):295–308, 2011) The claim is supposed to be supported among others by ‘the argument from action.’ In contrast to genuine emotions, proponents of this argument claim, fictional emotions do not motivate their bearers to act. (cf. Yanal in Paradoxes of emotion and fiction, Pennsylvania State University Press, University Park, 1999; Lamarque in Br J Aesthet 21(4):291–304, 1981; Carroll in The philosophy of horror: or, paradoxes of the heart, Routledge, London, 1990; Currie 1990; Walton 1978, 1990; Suits in Pac Philos Q 87(3):369–386, 2006; Friend, in: Kind (ed.) The Routledge handbook of philosophy of imagination, Routledge, New York, 2016) This claim grounds in what may appear to be an obvious fact: that viewers and readers of are not led to act by their fictional emotions. It is certainly true that viewers and readers of fiction do not form intentions to perform actions directed towards fictional entities. In contrast to the proponents of the argument from action, I will argue that the lack of any such intentions can be explained only with reference to intending’s doxastic conditions, conditions that are unsatisfied in the fictional scenario. Decisively, this explanation does not refer to the motivational force of the agent’s emotions; indeed, it doesn’t refer to emotions at all. Thus, the lack of intentions to perform actions directed towards fictional objects provides no support for the claim that fictional emotions are no genuine emotions. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of (...) agency. Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...) on analogous principles: in the perception of moving forms and spatial forms in the world and rhythms of forms, colors, light and shadow in art. In practice, this means that perception and its felt effects have an effect on the feelings of the viewer and thus help him to inform himself directly and intensively about the world through art. In contrast to this general epistemological aesthetic theory, which philosophers in particular accept, it is to be shown that this assumption must be redefined not with reference to the world, but with reference to art and design. For the latter, the approach will be extended to a semiotic theory. The background is that in contrast to the world, the designed forms and thus the designed intentions of the artist and designer or his client in relation to the chosen theme have an impact on the viewer and thus on culture and its communicative dynamics. (shrink)

Yasunari Kawabata’s 1952 novel The Sound of the Mountain is widely praised for its aesthetic qualities, from its adaptation of aesthetics from the Tale of Genji, through the beauty of its prose and the patterning of its images, to the references to arts and nature within the text. This article, by contrast, shows that Kawabata uses these features to demonstrate the effects of the mass trauma following the Second World War and the complicated grief it induced, on the psychology (...) of moral/ethical understanding, decision-making and action. The stream of consciousness traces the protagonist’s growing awareness of social changes and the ensuing difficulties of ethical decision-making. (shrink)

This article analyses the concept of ?aesthetic emotion? in John Dewey's Art as experience. The analysis shows that Dewey's line of investigation offers valuable insights as to the role of emotion in experience: it shows emotion as an integral part and structuring force, as a cultural and historical category. However, the notion of aesthetic emotion is characterized by a fundamental ambiguity. There is a conflict between a mechanical and an organic understanding of emotion, a confusion of emotion as structure and (...) of emotion as process, of emotion as content and as agency. The central problem may consist of the conception of aesthetic experience as the ideal. While evil and despair are thereby excluded from the art, everyday life is left wanting, as it cannot live up to the ideal. (shrink)

We think less than we think. My thesis moves from this suspicion to show that standard accounts of intentional action can't explain the whole of agency. Causalist accounts such as Davidson's and Bratman's, according to which an action can be intentional only if it is caused by a particular mental state of the agent, don't work for every kind of action. So-called automatic actions, effortless performances over which the agent doesn't deliberate, and to which she doesn't (...) need to pay attention, constitute exceptions to the causalist framework, or so I argue in this thesis. Not all actions are the result of a mental struggle, painful hesitation, or the weighting of evidence. Through practice, many performances become second nature. Think of familiar cases such as one's morning routines and habits: turning on the radio, brushing your teeth. Think of the highly skilled performances involved in sport and music: Jarrett's improvised piano playing, the footballer's touch. Think of agents' spontaneous reactions to their environment: ducking a blow, smiling. Psychological research has long acknowledged the distinctiveness and importance of automatic actions, while philosophy has so far explained them together with the rest of agency. Intuition tells us that automatic actions are intentional actions of ours all the same (I have run a survey which shows that this intuition is widely shared): not only our own autonomous deeds for which we are held responsible, but also necessary components in the execution and satisfaction of our general plans and goals. But do standard causal accounts deliver on the intentionality of automatic actions? I think not. Because, in automatic cases, standard appeals to intentions, beliefs, desires, and psychological states in general ring hollow. We just act: we don't think, either consciously or unconsciously. On the reductive side, Davidson's view can't but appeal to, at best, unconscious psychological states, the presence and causal role of which is, I argue, inferred from the needs of a theory, rather than from evidence in the world. On the non-reductive side, Bratman agrees, with his refutation of the Simple View, that we can't just attach an intention to every action that we want to explain. But Bratman’s own Single Phenomenon View, appealing to the mysterious notion of 'motivational potential', merely acknowledges the need for refinement without actually providing one. So I propose my own account of intentional action, the 'guidance view', according to which automatic actions are intentional: differently from Davidson and Bratman, who only offer necessary conditions in order to avoid the problem of causal deviance, I offer a full-blown account: E's phi-ing is intentional if and only If phi-ing is under E's guidance. This account resembles one developed by Frankfurt, with the crucial difference that Frankfurt – taking 'acting with an intention' and 'acting intentionally' to be synonymous – thinks that guidance is sufficient only for some movement being an action, but not for some movement being an intentional action. I argue that, on the other hand, Frankfurt's concept of guidance can be developed so that it is sufficient for intentional action too. In Chapter One I present and defend my definition of ‘automatic action’. In Chapter Two I show that such understanding of automatic actions finds confirmation in empirical psychology. In Chapter Three I show that Davidson's reductive account of intentional action does not work for automatic actions. In Chapter Four I show that the two most influential non-reductive accounts of intentional action, the Simple View and Bratman's Single Phenomenon View, don't work either. And in Chapter Five I put forward and defend my positive thesis, the 'guidance view'. Also, in the Appendix I present the findings of my survey on the intentionality of automatic actions. (shrink)

What is it to be an agent? One influential line of thought, endorsed by G. E. M. Anscombe and David Velleman, among others, holds that agency depends on practical rationality—the ability to act for reasons, rather than being merely moved by causes. Over the past 25 years, Velleman has argued compellingly for a distinctive view of agency and the practical rationality with which he associates it. On Velleman’s conception, being an agent consists in having the capacity to be (...) motivated by a drive to act for reasons. Your bodily movements qualify as genuine actions insofar as they are motivated in part by your desire to behave in a way that makes sense to yourself. However, there are at least two distinct ways of spelling out what this drive towards self-intelligibility consists in, both present in Velleman’s work. It might consist in a drive towards intelligibility in causal-psychological terms: roughly, a drive to maximize the rational coherence of your psychological states. Alternatively, it might consist in a drive towards narrative intelligibility: a drive to make your ongoing activity conform to a recognizable narrative structure, where that structure is understood emotionally. Velleman originally saw these options as basically equivalent, but later came to prioritize the drive towards causal-psychological intelligibility over that towards narrative intelligibility. I argue that this gets things the wrong way round—we should instead understand our capacities to render ourselves intelligible in causal-psychological terms as built upon a bedrock of emotionally suffused narrative understanding. In doing so, we resolve several problems for Velleman’s view, and pave the way for an embodied, embedded and affective account of practical rationality and agency. According to the picture that emerges, practical rationality is essential to agency, narrative understanding is essential to practical rationality, and the rhythms and structures patterning the ebb and flow of our emotional lives are essential to narrative understanding. (shrink)

Ambivalence (as in practical conflicts, moral dilemmas, conflicting beliefs, and mixed feelings) is a central phenomenon of human life. Yet ambivalence is incompatible with entrenched philosophical conceptions of personhood, judgement, and action, and is denied or marginalised by thinkers of diverse concerns. This book takes a radical new stance, bringing the study of core philosophical issues together with that of ambivalence. The book proposes new accounts in several areas – including subjectivity, consciousness, rationality, and value – while elucidating a (...) wide range of phenomena expressive of ambivalence, from emotional ambivalence to self-deception. The book rejects the view that ambivalence makes a person divided, showing that our tension-fraught attitudes are profoundly unitary. Ambivalence is not tantamount to confusion or to paralysis: it is always basically rational, and often creative, active, and perceptive as well. The book develops themes from Wittgenstein, Davidson, Sartre, and Freud. It engages with contemporary debates in Analytic Philosophy in addition to work ranging from Aristotle to Cultural Studies and Empirical Psychology, and considers a rich set of examples from daily life and literature. (shrink)

Some things are _about_, or are _directed on_ , or _represent_, other things. For example, the sentence 'Cats are animals' is about cats (and about animals), this article is about intentionality, Emanuel Leutze's most famous painting is about Washington's crossing of the Delaware, lanterns hung in Boston's North Church were about the British, and a map of Boston is about Boston. In contrast, '#a$b', a blank slate, and the city of Boston are not about anything. Many mental states and (...) events also have "aboutness": the belief that cats are animals is about cats, as is the fear of cats, the desire to have many cats, and seeing that the cats are on the mat. Arguably some mental states and events are not about anything: sensations, like pains and itches, are often held to be examples. Actions can also be about other things: hunting for the cat is about the cat, although tripping over the cat is not. This -- rather vaguely characterized -- phenomenon of "aboutness" is called _intentionality_. Something that is about (directed on, represents) something else is said to "have intentionality", or (in the case of mental states) is said to be an "intentional mental state". (shrink)

This book investigates the ontological state of relations in a unique way. Starting with the notion of system, it shows that the system can be understood as a relational structure, and that relations can be assessed within themselves, with no need to transform relations in elements. “Relations” are understood in contrast to “relational property”: without a relation there is no identity, therefore no existence. What allows us to do that without hypostatizing the relation, and without immediately taking it simply as (...) a causal relation, can be better grasped, possibly, in reference to a few entities that make best display of their systemic nature, for example images, works of art, and virtual bodies. This book shows how virtual bodies are ontological hybrids representing a type of entity that has never appeared in the world before. This entity becomes a phenomenon in interactivity and evades the dichotomy between “external” and “internal”; it is neither a cognitive product of the consciousness, nor an image of the mind. The user is well aware of experiencing anotherreality, also in the sense of a paradoxical reduplication of perceptual synthesis. The virtual body-environment is therefore simultaneously external and internal, with virtual bodies-environments to be seen as artificial windows to an intermediary world. In this intermediary world, the space itself is the result of interactivity; the world takes place in the sense or feeling of immersion experienced by the user; and the body, perceived as “other”, takes upon itself the sense of its reality, of its effectiveness, as an imaginary and pathic incision, as a production of desire and emotion, to the point that the feeling of reality conveyed by a virtual environment will rely significantly on how this environment produces emotions in the users. (shrink)

Introduction -- Prelude: from gesture to virtual agency -- Foundations for a theory of agency -- Virtual environmental forces and gestural energies: actants as agential -- Virtual embodiment: from actants to virtual human agents -- Virtual identity and actorial continuity -- Interlude I: from embodiment to subjectivity -- Staging virtual subjectivity -- Virtual subjectivity and aesthetically warranted emotions -- Staging virtual narrative agency -- Performing agency -- An integrative agential interpretation of Chopin's Ballade in F (...) minor, op. 52 -- Interlude II: hearing agency: a complex cognitive task -- Other perspectives on virtual agency -- Postlude. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:EMOTION AND GOD: A REPLY TO MARCEL SAROT* DANIEL WESTBERG University of Virginia Charlottesville, Virginia M ARCEL SAROT has helpfully drawn attention to the question of St. Thomas's treatment of divine emotion; and in my view he rightly protests against the widely fashionable approach of rejecting the classical doctrine of impassibility in favor of a suffering and passible God. Nevertheless, I disagree sharply with his contentions (1) that emotion (...) is restricted to corporeal creatures,' and therefore (2) that emotion cannot be ascribed to God. What kind of moral agent would God be without emotion? Sarot is not helpful here, and in this respect the critics of impassibility have a legitimate point; for, if we eliminate emotion from God, then we have to treat the Scriptures as "embodying primitive anthropomorphic conceptions of God," so that God's love, wrath, mercy, justice, and even his "serious concern for the welfare of His people are meaningless."2 To dismiss the biblical picture of God as anthropomorphic, maintaining not only that "anger" and "joy" are symbolic, but that even the notions of care and concern are not applicable to the divine being, seems unfaithful to revelation. It also calls into question the nature of God's personality and agency.' *See Marcel Sarot, "God, Emotion, and Corporeality," The Thomist 58 (1994): 61-92. Much of this paper was prepared for a theological discussion group at the University of Virginia, before the appearance of Sarot's article. I am grateful for the points raised by Robert Wilken, Jamie Ferreira, Eugene Rogers, David Hart, and others in the discussion, and for the helpful comments of Jeff Greenman on this version. 1 Sarot, 82: "without corporeality, no emotion." 2 T. E. Pollard, "The Impassibility of God," Scottish Journal ofTheology 8 (1955): 360..1 R. E. Creel thinks that emotional impassibility is compatible with caring about and acting for the welfare of another person, but that such a being could not be "rejoiced by the good fortunes of its beloved and distressed by its misfortunes" (Divine Impassibility: An Essay in Philosophical Theology [Cambridge: Cambridge, University Press, 1986], 117). I do not think this is close enough to the biblical presentation. 109 110 DANIEL WESTBERG The burden of my response, and what I explain below, is this: Being a rational agent implies emotion of a kind. If we can speak of God having intellect and will, which St. Thomas does (STh I, qq. 14 & 19), so that God is an intelligent being with powers to act, then we should be able to speak (with similar qualifications) about emotion in God. In other words, agency by intellect and will implies emotion, which means that emotion should be ascribed to God, as the Bible does, but in a way that does not attribute passibility. The two basic mistakes I see in Sarot's account are these: (1) to rely on physicalist definitions of the nature of emotion; (2) to assume that the Latin passio is the same as the contemporary English term "emotion." Thus I agree that Aquinas understood the relevant meaning of passio to refer to a person undergoing some bodily change (a transmutatio corporalis), but deny that this extended in Aquinas's account over the entire range of even human emotion. Much of the recent work in the field of emotion, amongst both philosophers and psychologists, suggests that bodily sensation is only sometimes an aspect of emotion, and not essential in its definition. I shall attempt to show the parallels between the distinctions made by Aquinas and the framework of some of this contemporary research. I. EMOTION AND MORAL AGENCY The essence of emotion has to do with being a moral agent, not with bodily existence. Any moral being (including angels and other spirits, God and human beings) has emotion. This is the implication of any moral psychology (especially, though not necessarily, Aristotelian) that analyzes moral action as a result of choice combining reason and desire in reference to an end to be obtained. Beings that have intellect and will (or rational appetite) have emotion; that is, they are capable of being "moved" towards (or away from) an object by appetite. For human beings, the paradigm experience of emotion is... (shrink)

This is the first book to examine the Subtle Body- a model of subjectivity found in esoteric, eastern and western religious and philosophical traditions from a transdisciplinary and cross-cultural perspective. It considers this radical form of self as enabling an innovative reconsideration of the dualisms at the heart of western discourse: mind-body, divine-human, matter-spirit, reason-emotion, I-other. Emerging from this consideration is an interrelated aestheticethic that promotes an understanding of embodiment that is not exclusively tied to materiality. This perspective posits an (...) individual as inherently intersubjective, creative and open. It presents subjectivity as relation: a dynamic relation that does not erase individuality while being inclusive of relations with radical alterity. The text considers subtle bodies as found in various traditions including Yoga and Tantra traditions, The Theosophical Society, Renaissance Hermeticism, Sufism and even within the work of contemporary philosopher Luce Irigaray. Conceptual interrelations are traced across the disciplines of religion, philosophy and art history/theory, with a particular focus on its relevance to contemporary feminist religious studies/philosophy, mysticism and theories of desire. (shrink)

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition (...) of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

On my interpretation of Kant, feeling plays a central role in the mind: it has the distinct function of tracking and evaluating our activity in relation to ourselves and the world so as to orient us. In this article, I set out to defend this view against a number of objections raised by Melissa Merritt and Uri Eran. I conclude with some reflections on the fact that, despite being very different, Merritt and Eran’s respective views of Kantian feelings turn out (...) to have something potentially problematic in common: they blur the boundary between feelings and other kinds of mental states. (shrink)

Nature aesthetics is concerned with four core questions: What is a natural environment? What is relevant, psychologically speaking, to the aesthetic appreciation of natural environments? How ought we to aesthetically appreciate natural environments? What is the relationship between nature aesthetics and environmental ethics? In this essay, I first address in Section 2 whether theorizing about nature aesthetics is possible by challenging the non‐aesthetics view, according to which aesthetic appreciation of nature is not possible, and the relativity (...) view, according to which aesthetic appreciation of nature is possible, but it is an anything goes affair. In Section 3, I outline the core arguments for scientific cognitivism and provide objections to those arguments, making room for alternative views. In Section 4, I outline the distinction between cognitivism and non‐cognitivism and discuss the benefits of the engagement view. In Section 5, I outline the sympathetic imagination view of nature aesthetics. In Section 6, I discuss the emotions view. In Section 7, after summarizing the lessons learned from these debates, I argue for a new view— Enacting Nature's Value— which proposes that we need to rethink nature aesthetics in terms of an enactivist account of aesthetic agency according to which the aesthetic appreciation of nature is a skilled action. In Section 8, I close by considering four future directions for nature aesthetics in the second generation of inquiry. (shrink)

This article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while perceiving (...) expression is sometimes about reading minds, it is more squarely about perceiving solicitations or closures for action. Second, I frame expressions as a subcategory of Gibson’s affordances. This includes those showing up through context, in turn suggesting Kuleshov-like scenarios are not mere perceptual tricks. Third, I maintain that situations—with or without other human beings—have action-motivating expressive qualities or what Gestalt theorists called physiognomic characters, following Werner. These likewise emerge through ecological relations, and are very much like affordances and in the world as much as them. With resemblance theories, my account agrees that we perceive expression in the world. However, it indicates a broad range of cases in which expression shows up as consequences of overall situations that solicit or close actions, as opposed to mere resemblance between entities and human expressions. (shrink)

Understanding human beings and their distinctive rational and volitional capacities requires a clear account of such things as reasons, desires, emotions, and motives, and how they combine to produce and explain human behaviour. Maria Alvarez presents a fresh and incisive study of these concepts, centred on reasons and their role in human agency.

Manipulative actions come in a bewildering variety of forms: direct and indirect deception, playing on emotions, tempting, inciting, and so on. It is not obvious what feature all these actions share in virtue of which they are all of the same kind and in virtue of which they are all morally wrong. This article argues that all manipulative actions are cases in which the manipulator attempts to lead the victim astray by trying to get her to have emotions, (...) beliefs, or desires that, as the manipulator sees it, are not ideal for the victim. To attempt to lead a person astray in this way is to fail to respect the moral and rational agency of the victim. This analysis captures the fact that actions of many kinds--and with many different psychological effects--can be manipulative, and it tells us what is wrong with acting manipulatively. It also helps distinguish manipulation from non rational persuasion. (shrink)

What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) contextual and dynamic speci- ficity. Through both phenomenological and neuroscientific explorations I analyze what is characteristic about a more “aesthetic stance” and argue that there is a certain asym- metry between beholder and beheld, which has to do with a disengagement of goal- directed action, and which allows for other kinds of perceptual involvement than in a more “practical stance”. It is a multi-disciplinary project integrating a sensorimotor no- tion of aesthetic affordances, 18th century philosophy, and large-scale brain network findings. What ensues is a new dynamic framework for future empirical and theoretical research on aesthetic perception. (shrink)

Actions expressing emotions (such as caressing the clothes of one's dead friend in grief, or tearing apart a photograph out of jealousy) pose a notorious challenge to action theorists. They are thought to be intentional in that they are in some sense under the agent's control. They are not thought to be done for a reason, however, because they cannot be explained by considerations that favor them from the agent's point of view. This seems to be the case, (...) at least, if one subscribes to the Davidsonian standard model of action explanation. So far, philosophers have had three different reactions to this challenge. Rationalists insist that such actions can be rationalized by re-interpreting them. Arationalists insist that there simply is no reasoning process moving agents in emotional states to act. A third reaction questions the intentionality of such actions altogether. All three reactions, however, share the assumption underlying the standard account: if an agent is thought to act for a reason - and hence acts intentionally - he must entertain a desire and some means-end belief reflecting his reasoning process about how to attain what he desires by acting. In this paper, I try to show that this reflective reasoning mechanism is only one way to rationalize an action. Another way is by tracing an action to an unreflective valuing stance respresenting reasons the agent has from his point of view. Emotions are attitudes that help to grasp reasons the agent has. Since emotions come with a strong motivational potential they move the agent to act expressively. But the agent typically allows himself to do so, thereby monitoring the way in which he does it. To the extent that the agent unreflectively acts on a motive that is itself representative of his point of view, his expressive actions can be regarded as rationalizable. (shrink)

This article presents research on assemblages among humans and computational systems in which physical and virtual autonomous processes occur in order to create artworks allowing the emergence of mixed sensory set-ups. It begins with triadic relationships computer, physical objects and participants aimed at co-relations among bands of bots (virtual and physical) with groups of humans (interactors). The bots have a representation of the virtual world: physical bots live on a flat surface (Abbot 1991), a projection of the 3D environment where (...) the virtual bots live. The artwork also explores the metaphor of higher dimensions being understood through their projections in lower dimensions. Its goal is to weave interaction and autonomous processes, looking for poetic results integrating art, science and technology; results with aesthetic, poetic and functional qualities; and results exploring emergency and agency for design, construction and set-up of expressive systems. For these symbioses to happen the assemblage of environments with aesthetic and poetic appeal leads one to think about mixed cognitive processes that provoke emergent behaviours. I am interested in the behaviours emerged in such inter-relationships. Therefore, to achieve this goal, I have created a Java framework that allows me to program interfaces weaving such behaviors1 and also I have programmed a set of sketches using Processing2 to test the hypothesis. The main inquiries of such research are as follows: What kind of artwork could mix people with autonomous computational processes without becoming invasive? and Is such a dichotomy possible? To answer these questions, I came up with the idea of playing with swarms and flock algorithms mixing virtual and physical domains. Will this create the mixed behaviour I am looking for? Will the participants contribute with their actions, emotions and affects while the computer develops its own autonomous processes? (shrink)