Aesthetics and Emotions

The Dark Side of Colors is a Pereirano short film made by director Mónica Moreno, in the framework of the investigation "The Color as a character within the audiovisual production: The Dark Side of Colors", whose end is to see the color as a leading element in the story and how it affects the psyche of the main character, called Franz, around the creation of an Altrego named Christopher, who see in the color, personalities and behaviors of people from The (...) negative point of view is like this, as the art director from a particular aesthetic proposes a color palette focused on the triggers, atmospheres, objects and characters, but related to color as a character. (shrink)

It is widely assumed that we can meaningfully talk about emotional reactions as being appropriate or inappropriate. Much of the discussion has focused on one kind of appropriateness, that of fittingness. An emotional response is appropriate only if it fits its object. For instance, fear only fits dangerous things. There is another dimension of appropriateness that has been relatively ignored — proportionality. For an emotional reaction to be appropriate not only must the object fit, the reaction should be of the (...) appropriate intensity. It should be proportional. The problem for any attempt to develop norms of appropriateness is that proportionality is a factor of how much the person cares about the focus. But, as I argue, it is not clear how we should normatively assess care. I present problems for a few ways to assess the normativity of care and argue that the difficulties are compounded when it comes to fiction. (shrink)

For centuries, it has been recognized that beauty can move. My aim in this paper is to understand how beauty moves. One suggestion is that beauty moves in a causal way, for example, by causing us to have certain feelings. Four objections to this suggestion are considered, but none is found convincing in the light of how causation tends to be understood. Moreover, it turns out that there is positive reason for thinking that beauty is causally efficacious, not just once (...) it has been experienced, as John Hyman has suggested, but even in bringing about the experience on which all other effects of beauty depend. (shrink)

Why are moral actions beautiful, when indeed they are? This paper assesses the view, found most notably in Schiller, that moral actions are beautiful just when they present the appearance of freedom by appearing to be the result of internal harmony (the Schillerian Internal Harmony Thesis). I argue that while this thesis can accommodate some of the beauty involved in contrasts of the ‘continent’ and the ‘fully’ virtuous, it cannot account for all of the beauty in such contrasts, and so (...) needs to be weakened considerably (to the Internal Harmony Thesis). To account for the remaining beauty that cannot be fully accommodated even by this revised thesis, as well as the beauty contained in contrasts that involve agents who experience internal conflict as a result of being sensitive to different sources of moral value to an appropriate extent, a number of further theses need to be posited: namely, that the beauty of some moral actions is to be accommodated in terms of internal disharmony (the Internal Disharmony Thesis), and in terms of a felt harmony between the appreciator of the action and the executor of the action (the Affective Harmony Thesis). As such, in contrast to Schiller, I suggest that we need to take a pluralist and context-sensitive approach to accommodating the beauty of moral actions. (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)

When engaging with magic, we are moved by seemingly impossible events that contradict what we believe to be possible in the real world. We are surprised, curious, and baffled when we cannot explain how the magic we are witnessing is possible. We generally understand the events to be illusions. But how is it possible to be moved by something we know to be unreal? This problem is related to the paradox of fiction in aesthetics. Here, we introduce the problem in (...) the domain of theatrical magic, discuss possible solutions, and present a tentative account that allows us to accommodate inconsistent, seemingly incompatible beliefs at different representational levels in the viewers’ mind. (shrink)

Why is listening to sad music pleasurable? Eerola et al. convincingly argue that we should adopt an integrative framework — encompassing biological, psycho-social, and cultural levels of explanation — to answer this question. I agree. The authors have done a great service in providing the outline of such an integrative account. But in their otherwise rich discussion of the psycho-social level of engagements with sad music, they say little about the phenomenology of such experiences — including features that may help (...) shed further light on this question. I suggest that emerging enactive perspectives on music and emotion can offer some useful resources. (shrink)

Several quantitative studies (e.g. Kidd & Castano, 2013a; Djikic et al., 2013) have shown a positive correlation between literary reading and empathy. However, the literary nature of the stimuli used in these studies has not been defined at a more detailed, stylistic level. In order to explore the stylistic underpinnings of the hypothesized link between literariness and empathy, we conducted a qualitative experiment in which the degree of stylistic foregrounding was manipulated. Subjects (N = 37) read versions of Katherine Mansfield's (...) 'The Fly', a short story rich in foregrounding, while marking striking and evocative passages of their choosing. Afterwards, they were asked to select three markings and elaborate on their experiences in writing. One group read the original story, while the other read a 'non-literary' version, produced by an established author of suspense fiction for young adults, where stylistic foregrounding was reduced. We found that the non-literary version elicited significantly more (p < 0.05) explicitly empathic responses than the original story. This finding stands in contradiction to widely accepted assumptions in recent research, but can be assimilated in alternative models of literariness and affect in literary reading (e.g. Cupchik et al., 1998). We present an analysis of the data with a view to offering more than one interpretation of the observed effects of stylistic foregrounding. (shrink)

According to the book blurb (p. iv), the themes explored in the volume include the nature of love, romanticism, and marriage; the passage and experience of time; the meaning of life; the art of conversation, the narrative self; gender; and death. All these topics are indeed touched upon to a greater or lesser extent. I find this book to be, in its essence, an investigation of love and romance. So, my main question here is: what can we learn about romantic (...) life from this philosophical exploration of the Before trilogy? (shrink)

This essay meditates on the short film American Reflexxx and the violent laughter directed at a non-trans woman in public space when she was assumed to be trans. Drawing from work on the ideological and institutional dimensions of transphobia by Talia Bettcher and Viviane Namaste, alongside Sara Ahmed's writing on the cultural politics of disgust, I reverse engineer this specific instance of laughter into a meditation on the social meaning of transphobic laughter in public space. I then look at racialized (...) transphobic laughter directed against Tyra Hunter and Miriam Rivera to emphasize transmisogynist laughter as a denial of contact, intimacy, and care. Building on Kate Manne's work on misogyny, I conclude that a key aspect of transmisogyny is the use of transfeminine people as a source of dehumanized, disavowed, and disposable care and intimacy. Laughter and accompanying violence against trans women serves to reinforce this dynamic. (shrink)

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals (...) help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art, namely that if one is going to do so they must ensure the pain has been ‘beautified’. In developing this second point I argue that emotional hardcore is well-suited (though not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

In aesthetics there is a long tradition according to which beauty is the object of love. One construal of this suggests a sentimentalist theory of beauty: beauty just is the object of an emotion aptly described as love. The first step toward such a view would be to discern whether we can make sense of at least some kind of aesthetic affect as at least some kind of love. I suggest that we can by taking up a thought from Frank (...) Sibley, according to whom aesthetic properties reflect non-aesthetic values that “go deep into human life and interests” or that “mean much to us” given the kinds of lives we live. I show how we might think that a variety of aesthetic affect represents its object as embodying life-affirming value and as such we can see a variety of aesthetic affect as a kind of love of life. It remains to be seen whether this can be leveraged into a theory of beauty narrowly construed. (shrink)

A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: there is no single answer (...) to the question of what kind of subjectivity, if any, is mandated across film sequences. Then, we defend unindexed subjectivity: at least sometimes, films mandate an experience that is first-personal but not tied to any particular person, not even to the viewer. Taken together, these two theses allow us to see film experience as more varied than previously appreciated and to bridge in a novel way the cognition of film with the exercise of other imaginative capacities, such as mindreading and episodic recollecting. (shrink)

미적 감정주의는 미적 가치평가가 감정 반응에 근거한다는 생각이다. 이 글에서 나는 미적 감정주의에 기초하여 미적 감정이 있다고 주장하는 두 관점인 환원주의와 수정주의를 비판적으로 검토한다. 경이 환원주의는 비인지주의 감정 이론을 전제하고 미적 감상이 경이 감정으로 환원된다고 주장한다. 다수 감정 환원주의는 인지주의나 비인지주의를 전제하지 않고 미적 감상이 다수의 감정으로 이루어진 한 부류로 환원된다고 주장한다. 반면 수정주의는 감상 감정인 미적 감정이 별도의 감정적 기능인 완성적 기능을 갖기에 독자적인 감정 유형으로 분류돼야 한다고 주장한다. 그러나 환원주의는 개념 예술 감상을 적절하게 설명하지 못한다는 문제를 가진다. 이에 (...) 더해, 경이 환원주의는 재조정을 통해 미적 경이의 지향적 대상을 구성하는 데 취약하고, 다수 감정 환원주의는 미적 가치평가의 근거가 감정이 아닌 다른 반응이나 태도일 가능성을 간과하는 문제를 가진다. 한편 수정주의는 감정의 완성적 기능과 정감적 평가가 개념적으로 충돌하는 문제를 드러내며, 직접 경험 원칙에서 벗어나는 예술 감상 사례를 설명하지 못한다. 그러므로 나는 환원주의와 수정주의가 모두 성공적이지 않다고 결론 내린다. (shrink)

Critics often link yet distinguish between ‘moving’ and ‘touching’ characters, scenes and artworks. It has been argued that being moved is a specific emotion, that its formal object is the thin goodness of exemplified final, important and impersonal thick values, and that being touched is an attenuated form of that phenomenon. First, I dispute that the values that move us must be impersonal, since we can be moved by the personal goodness of being loved, free or healthy. Second, I argue (...) that being touched should be considered a distinct emotion type. To support this claim, I refer to apparent differences between the formal objects that the two affective phenomena relate to as well as to dissimilarities in cognitive sophistication and phenomenology. I suggest that we are touched by that which invites love. Vulnerable, innocently suffering and affectionate beings are touching insofar as they need and will be responsive to love. (shrink)

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

Music can contaminate us. Sometimes, listeners perceive music as expressing some emotion (say, sadness), and this elicits the same emotion in them (they feel sad). What is musical contagion? This entry presents the main theories of musical contagion that crystallize around the challenge to the leading theory of emotions as experiences of values. How and why does music contaminate us? Does musical contagion elicit garden variety emotions, such as sadness, joy, and anxiety? Does music contaminate us by simply moving us? (...) Which role does imagination play in our affective responses to music? Is musical arousal elicited by automatic mimicry? What does musical contagion teach us about emotions? Musical contagion addresses fundamental theoretical and practical issues. (shrink)

Music can infect us. In the dominant approach, music contaminates listeners through emotional mimicry and independently of value appraisal, just like when we catch other people’s feelings. Musical contagion is thus considered fatal to the mainstream view of emotions as cognitive evaluations. This paper criticizes this line of argument and proposes a new cognitivist account: the value metaphor view. Non-cognitivism relies on a contentious model of emotion transmission. In the competing model (social appraisal), we catch people’s emotions by appraising value (...) through their emotional expressions. Social appraisal debunks the main motivation for non-cognitivism and offers fruitful insights into musical contagion. Combining it with metaphor theory, I claim that musical contagion involves experiencing the music as a metaphor for emotions and values. Just like people infect us as we appraise value through their emotional expressions, music contaminates listeners because they hear it metaphorically-as some emotional expression and hereby appraise it metaphorically-as some value. As infectious music “sounds like” emotions and values, cognitivism is safe. (shrink)

Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief (...) problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

Emily Brady and Arto Haapala (2003) define melancholy as a complex emotion with aspects of both pain and pleasure that draw on a range of emotions — sadness, love and longing — all of which are bound with a reflective, solitary state of mind. Melancholy, they argue, does not just play a role in our encounters with artworks and the natural environment but also invites aesthetic considerations into play in more everyday situations. As such, melancholy can be considered an aesthetic (...) emotion per se. In this paper, I critically examine the various aspects of Brady and Haapala’s account, then present an alternative analysis of melancholy and its aesthetic relevance. (shrink)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature (...) of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

This is the first book on the role of cognition in the aesthetic theory of Li Zehou (1930–2021), one of China's most important and influential contemporary philosophers. The cognitive dimension and its integration with practice is discussed by examining one of Li's pivotal concepts: "subjectality," a human subject shaped by the world in which they live, including beauty and aesthetic experience. Li's theory is also contextualized in the threefold inspiration coming from Confucian, Kantian, and Marxist philosophies, which differently conceptualize the (...) aesthetic and cognitive dimensions in humans. By referring to different aesthetic theories and interdisciplinary approaches to cognition, the book aims to show how Li's cognitively oriented project can contribute to contemporary research into aesthetics. Although primarily written for philosophers working in aesthetics, Chinese, and comparative philosophy, the book is also addressed to anyone interested in contemporary Chinese thought. (shrink)

O propósito deste artigo é aprofundar o debate da narratalogia cognitiva sobre o papel das emoções e afetos na escrita e leitura do texto ficcional. Para tanto, buscamos fundamentos teóricos em teorias recentes da afetividade situada, em particular nos conceitos de andaimes, arranjos e milieus afetivos, a fim de observar como textos codificam afetos para suscitar estados afetivos e emocionais nos leitores. O mérito da interlocução virá da capacidade de fertilizar a compreensão do papel das emoções na construção de textos (...) ficcionais, mediante a análise do seu papel na composição de um texto em particular: o conto “Criançada”, de Anton Tchekhov. Como teorias da afetividade situada reservam um papel de destaque para o ambiente externo na construção da afetividade humana, argumentamos que a aplicação dessas teorias ao nosso objeto permite observar como a construção do espaço, a descrição dos objetos e os afetos dos personagens estão intimamente ligados, alimentando-se reciprocamente e fortalecendo-se em relações de feedback. Essas análises podem permitir que a narratologia cognitiva saliente elementos afetivos dos textos ficcionais até aqui pouco explorados nos estudos literários. (shrink)

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues (...) are partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

The commentaries by Contesi, Hardcastle, Pismenny, and Gallegos pose pressing questions about the nature of boredom, frustration, and anticipation. Although their questions concern specific claims that I make in Propelled, they are of broad philosophical interest for, ultimately, they pave the way for a better understanding of these three psychological states. In my responses to the commentators, I clarify certain claims made in Propelled; provide additional support for my understanding of frustration; articulate the relationship between effort and value; defend the (...) claim that boredom is an emotion and discuss its formal object; and finally, consider the relationship between boredom (ordinarily understood) and deep or profound boredom. I am grateful to the commentators for engaging with Propelled. (shrink)

There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...) broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success. (shrink)

Are the emotions elicited by real-life occurrences in analogous with those which occur in fictions? The position that Jonathan Gilmore stakes in Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind is that our emotions are not governed by the same standards of appropriateness or rationality across life and art—there is a kind of separation, barrier or “quarantine” (to borrow Gilmore’s parlance). For instance, we may admire or root for Tony Soprano when watching The Sopranos but would abhor (...) such a person in real life; similarly, we may take great pleasure in the wanton destruction in a film such as Lars von Trier’s Melancholia but would be horrified by this were it to occur. Gilmore queries us to examine this discrepancy and departure, drawing attention to the consideration that, if fictions are simply extensions of our imagination why often times when we imagination something do we respond to what we imagine as if it were to really occur? When we imagine missing a train, for instance, we feel a nervousness analogous to what we would feel were we to really miss the train. On the one side is the pull of continuity, a commitment to invariance, in which our engagements with the contents of fictions and other imagined creations are said to be modeled on our engagements with ordinary real-world states of affairs. On the other is the pull of discontinuity, in which such representations are posed as offering potentially sui generis sorts of experiences that resist assimilation or reduction to those we encounter in the everyday. Thus, questions concerning art and fictive imagining’s autonomy and belief are inherently imbricated within this discourse. (shrink)

Cuteness has an essential place in evolutionary aesthetics, not only for its role in developing Darwinian and empirical approaches to aesthetics, but also in the application of evolutionary aesthetics to ethics, even suggesting a contribution to the ethics of human interaction with non-animal species. This brief treatment outlines some of the distinctive features of cuteness, calling attention to some of the empirical research and arguing for more sustained inquiry.

What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. The ultimate source of (...) aesthetic knowledge is feeling. In this essay, we articulate and defend the very idea of affective knowledge and reveal aesthetic knowledge to be a species of the genus. We then show how the view resolves a thorny problem that has bedeviled aesthetic epistemologists: how to reconcile the seemingly direct character of aesthetic knowledge with the possibility of acquiring such knowledge from criticism. One learns from criticism, we argue, when it guides one’s engagement with an object so that one can appreciate it in virtue of those of its features that render it worthy of appreciation. (shrink)

In this article, following a trajectory set out by Noël Carroll, Matt Hills, and Andrea Sauchelli, I propose a definition of horror, according to which something qualifies as a work of horror if and only if it centrally and demonstrably aims at provoking one or more of a particular set of negative affects. A catalog of characteristically negative affects is associated with horror—including terror, revulsion, the uncanny, and the abject—but which cannot be collapsed into any single affect. Further complicating matters (...) is that the set appears to be constantly, if slowly, mutating, so that the affects aimed at in the horror of the 1920s do not entirely overlap with those aimed at horror today, or which we might expect horror to aim at a century from now. As such, while we use “horror” as a blanket term across eras, whether some work is a work of horror will always be time-indexed. (shrink)

In the classical view of emotion, the basic emotions (anger, disgust, fear, joy, sadness, and surprise) are assumed to be natural kinds that are perceiver-independent. Correspondingly, each is thought to possess a distinct neural and physiological signature, accompanied by an expression that is universally recognized despite differences in culture, era, and language. An alternative, the theory of constructed emotion, emphasizes that, while the underlying interoceptive sensations are biological, emotional concepts are learned, socially constructed categories, characterized by many-to-many relationships among diverse (...) brain states, physiological signs, facial movements, and their emotional meanings. This biocultural view permits a greater degree of cultural-historical specificity when interpreting the emotions of others. In this article, I consider the implications of the theory of constructed emotion for cognitive film theory, especially regarding the interpretation of depicted facial expressions of emotion as one aspect of cinematic expression. Particular attention is given to recent work revisiting the Kuleshov effect, in which the meaning of a character’s facial expression is thought to change in the context of a montage. (shrink)

Modern television is awash in programs that focus on the rough hero, a protagonist that is explicitly depicted as immoral. In this paper I examine why audiences find these characters so compelling, focusing on archetypal rough heroes in two programs: The Sopranos and Breaking Bad. I argue that the ability of rough-hero programs to engender a certain degree of empathy for morally deviant characters despite viewers' resistance to empathizing with these characters' moral views is an aesthetic achievement. In addition, I (...) argue that empathy for the rough hero has cognitive value in that it enables us to reflect on the nuances of the psychology underlying moral deviance. In defending these claims, I offer my view as an alternative to A.W. Eaton's robust immoralist view that the aesthetic value of rough-hero programs lies in their ability to make audiences empathize with immoral perspectives; my claim is that empathy for rough heroes does not extend to their moral outlooks. My view also provides an alternative to Matthew Kieran's cognitive immoralist view that a work's depiction of immorality has cognitive value insofar as it imparts a normative lesson; my claim is that rough-hero programs are cognitively valuable not because they teach us about the perils of acting immorally, but because they help us understand the moral psychology that underlies immoral behavior. I defend an interpretation of rough-hero programs that incorporates insights from Eaton's and Kieran's immoralist views but does not support immoralism. (shrink)

The hardcover version of the book Astrophotography: Concepts and Flows focuses only on the semiotics of art other than any technicalities covered in the Kindle eBook and paperback versions. With the arrangements in the concept of art and nuclear chemistry in its ecological terms conveyed in the meanings in art, the book is a selected series of the artworks in the photographic and installation art.

In this commentary on Elpidorou‘s book, I first note a certain arbitrariness in his choice, for his purpose of showing the bright side of negative emotions, of boredom, frustration, and anticipation. Many other emotions carry negative valence and might be said to be useful in motivating us to avoid or escape them. I then focus on boredom, and consider four candidates for the role of its formal object. All four turn out to be problematic. I then consider the moral and (...) prudential value of boredom, and conclude that if boredom is to be attributed some sort of intrinsic value, it is more likely to derive it from its complex role in aesthetic experience. (shrink)

Aesthetic concepts and conceptions are structured mental representations partly composed of phenomenal concepts. I defend this claim by appealing to contemporary accounts of concepts and to the current literature on phenomenal concepts. In addition, I discuss the relationship between aesthetic concepts and aesthetic understanding — an epistemic state at the centre of much work in contemporary epistemology.

Mounting empirical evidence underscores the health benefits of the arts, as recently reported in a scoping review by the World Health Organization. The creative arts in particular are acknowledged to be a public health resource that can be beneficial for well-being and health. Within this broad context, and as a subfield of participatory arts, the term social arts (SA) specifically refers to an art made by socially engaged professionals (e.g., artists, creative arts therapists, social workers, etc.) with non-professionals who determine (...) together the content and the final art product (in theater, visual arts, music, literature, etc.) with the aim to produce meaningful social changes. SA can enhance individual, community, and public health in times of sociopolitical instability and is an active field in Israel. However, SA is still an under-investigated field of study worldwide that is hard to characterize, typify, or evaluate. This paper presents a research protocol designed to examine a tripartite empirically-based model of SA that will cover a wide range of SA training programs, implementations, and impacts. The findings will help refine the definition of SA and inform practitioners, trainers, and researchers, as well as funding bodies and policymakers, on the content and impact of SA projects in Israel and beyond. (shrink)

Based on Husserl’s distinction between mode of living presence (Modus der Leibhaftigkeit) and mode of certainty (Glaubensmodus der Gewißheit), which coincide in normal univocal perception, the paper argues for a distinction between two different types of accordance (Einstimmigkeit) in perceptual experience – local accordance and global accordance. While local accordance is characterized by the unfolding of appearances in agreement with lines of accordance instituted by recent perceptual apprehensions within a certain spatio-temporal domain, global accordance is characterized by the agreement between (...) appearances unfolding in local accordance with previous and simultaneous apprehensions concerning the spatio-temporal surroundings of this domain. As will be shown, to perceive something in local accordance amounts to perceiving it in the mode of living presence, while to perceive something in global accordance amounts to perceiving it in the belief mode of certainty (relative to a certain surrounding). In light of these considerations, an account of the perception of figments and immersion is put forward which does not invoke make-belief or the idea of an as-if-perception. (shrink)

This book offers a sustained, interdisciplinary examination of taste. It addresses a range of topics that have been at the heart of lively debates in philosophy of language, linguistics, metaphysics, aesthetics, and experimental philosophy. Our everyday lives are suffused with discussions about taste. We are quick to offer familiar platitudes about taste, but we struggle when facing the questions that matter--what taste is, how it is related to subjectivity, what distinguishes good from bad taste, why it is valuable to make (...) and evaluate judgments about matters of taste, and what, exactly, we mean in speaking about these matters. The essays in this volume open up new, intersecting lines of research about these questions that cross traditional disciplinary boundaries. They address the notion of aesthetic taste; connections between taste and the natures of truth, disagreement, assertion, belief, retraction, linguistic context-sensitivity, and the semantics/pragmatics interface; experimental inquiry about taste; and metaphysical questions underlying ongoing discussions about taste. Perspectives on Taste will be of interest to researchers and advanced students working in aesthetics, philosophy of language, linguistics, metaphysics, and experimental philosophy. (shrink)

In Greek mythology the Muses –patron goddesses of fine arts, history, humanities, and sciences– are tellingly portrayed as the daughters of Zeus and Mnemosyne, the goddess Memory, who is of the race of Titans, older still than Zeus and other Olympian deities. The relationship between memory and such fields as epic poetry, history, music and dance is easily recognizable to moderns. But bards/poets like Homer and Hesiod, who began oral storytelling by “invoking the Muses” with their audience, knew well that (...) remembering, forgetting, and imagining are each to be esteemed as, in Hesiod’s words, “gifts of the goddesses.” The economy of memory is an important concern for moral psychology, philosophy of emotions, and philosophy of imagination. This chapter examines ways that amusements, both classically and today, can function to educate moral emotions in and though their multi-faceted engagements with the economy of memory. (shrink)

In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with the expectation-based arousal (...) mechanism proposed by Leonard Meyer. This account connects musical expressivity and arousal in a way that formalists have rejected, but I argue that it provides the best explanation of our observations of listener responses while also focusing on the music itself. (shrink)

In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...) their aesthetic evaluation and appreciation. This is why and how art is non-contingently related to pleasure. Call this, the Affective View. While I don’t advance conclusive arguments for the Affective View in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the Affective View is worth serious reconsideration. (shrink)

This book challenges the widespread view of Kierkegaard’s idiosyncratic and predominantly religious position on mimesis. -/- Taking mimesis as a crucial conceptual point of reference in reading Kierkegaard, this book offers a nuanced understanding of the relation between aesthetics and religion in his thought. Kaftanski shows how Kierkegaard's dialectical-existential reading of mimesis interlaces aesthetic and religious themes, including the familiar core concepts of imitation, repetition, and admiration as well as the newly arisen notions of affectivity, contagion, and crowd behavior. Kierkegaard’s (...) enduring relevance to the malaises of our own day is firmly established by his classic concern for the meaning of human life informed by reflective meditation on the mimeticorigins of the contemporary age.​ -/- Kierkegaard, Mimesis, and Modernity will be of interest to scholars and advanced students working on Kierkegaard, Continental philosophy, the history of aesthetics, and critical and religious studies. (shrink)