Emotional Expression

Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred music in the Western, (...) classical tradition. In investigating this topic, I tackle an issue at the interface between the philosophy of religion and aesthetics: sacred music’s capacity to arouse religious emotions. I use as a springboard Peter Kivy’s view that ‘music alone’ can only arouse emotions about itself. This view, I argue, has a counterintuitive consequence: the music in sacred works would play no part in arousing emotions with religious objects. In contrast, I develop an account of how music combines with religious factors to arouse religious emotions. I then draw out two consequences for how music can facilitate understanding between religious and non-religious outlooks. The upshot of all this, I suggest, is that by expanding the listener’s religious-emotional landscape, sacred music can enrich her knowledge of God – and that this is possible whether or not the listener subscribes propositionally to God’s reality or to any other religious doctrines. (shrink)

Se consideră conceptul de inteligență emoțională ca fiind invalid, atât pentru că nu este o formă de inteligență, cât și pentru că este definit atât de larg și incluziv încât nu are un sens inteligibil. Extinderea termenului de „inteligență” distorsionează sensul conceptului. Motivul final ar fi egalitarismul, astfel încât toată lumea să fie considerată egală în inteligență. Iinteligența emoțională nu ar fi, în fapt, o altă formă sau tip de inteligență, ci inteligența (capacitatea de a înțelege abstracțiunile) aplicată unui anumit (...) domeniu, respectiv emoțiile. Percepția inteligenței emoționale ca o calitate morală de drept este greșită, aceasta nefiind decâ un instrument pentru îndeplinirea obiectivelor, putând fi utilizată ca o armă pentru manipularea celorlalți. DOI: 10.13140/RG.2.2.24452.76169. (shrink)

While there is ongoing debate about the existence of basic emotions and about their status as natural kinds, these debates usually carry on under the assumption that BEs are encapsulated from cognition and that this is one of the criteria that separates the products of evolution from the products of culture and experience. I aim to show that this assumption is entirely unwarranted, that there is empirical evidence against it, and that evolutionary theory itself should not lead us to expect (...) that cognitive encapsulation marks the distinction between basic and higher cognitive emotions. Finally, I draw out the implications of these claims for debates about the existence of basic emotions in humans. (shrink)

Human emotional expressions can communicate the emotional state of the expresser, but they can also communicate appeals to perceivers. For example, sadness expressions such as crying request perceivers to aid and support, and anger expressions such as shouting urge perceivers to back off. Some contemporary artificial intelligence (AI) systems can mimic human emotional expressions in a (more or less) realistic way, and they are progressively being integrated into our daily lives. How should we respond to them? Do we have reasons (...) to reply to the appeals made by AI emotional expressions? In this paper, we examine the conditions under which AI emotional expressions could give us prudential or even moral reasons to change our behavior. We argue that these conditions do not depend on whether the emotional expression is genuine or not, but rather on the presence of features some of which can be implemented in emotive AI given our current level of technological development. We extract recommendations and warnings for the development of emotive AI. (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)

Slurs’ meaning is highly unstable. A slurring utterance like ‘Hey, F, where have you been?’ (where F is a slur) may receive a wide array of interpretations depending on various contextual factors such as the speaker’s social identity, their relationship to the target group, tone of voice, and more. Standard semantic, pragmatic, and non-content theories of slurs have proposed different mechanisms to account for some or all types of variability observed, but without providing a unified framework that allows us to (...) understand how different contextual factors simultaneously influence slurs’ interpretation. To address this issue, I argue that slurs convey dimensional qualities such as, e.g., ‘negative valence, neutral arousal, high dominance’ instead of discrete emotional categories such as ‘contempt’. Then, I translate this hypothesis into a game-theoretic model of slurs’ interpretation inspired by Heather Burnett’s pioneering work on identity construction. This new model, called ‘Affective Meaning Games’ (AMG), captures the variability of slurs and integrates pragmatic reasoning within an independently motivated psychological understanding of emotional states. (shrink)

Swear words are highly colloquial expressions that have the capacity to signal the speaker's affective states, i.e., to display the speaker's feelings with respect to a certain stimulus. For this reason, swear words are often called 'expressives'. Which linguistic mechanisms allow swear words display affective states, and, more importantly, how can such 'affective content' be characterized in a theory of meaning? Even though research on expressive meaning has produced models that integrate the affective aspects of swear words in a compositional (...) framework, there is extensive evidence that swear words cannot be assigned a single or stable affective interpretation across contexts. For example, even though expletive adjectives (e.g., 'damn'), particularistic insults (e.g., 'bastard') and slurs (e.g., 'wop') typically express (and elicit) negatively valenced affective states, they can also be interpreted positively in some contexts. Thus, inspired in recent developments in formal sociolinguistics, I propose an 'indexical' approach to affective meaning. Under this approach, an affective expression is associated with a set of affective qualities, anyone of which may emerge at a given context depending on the interpreter's prior assumptions about the speaker's affective states and/or relation with the target of the swear word. To define this set, also called 'indexical field', I will use the dimensions pleasure, arousal and dominance, standardly employed in cognitive psychology to characterize and measure affective episodes. In this dissertation, thus, the affective meaning of an expression is given by the set of affective states it typically conveys within a linguistic community, but its interpretation at a given context is established by taking into account the interpreter's prior assumptions about the speaker's affective states and/or attitudes with respect to the target of the affective expression. (shrink)

In our everyday interactions we easily and effortlessly perceive emotions in others’ facial expressions and bodily behavior. How do we do that? Philosophers and psychologists have long argued about the fundamentals of emotion perception and the debate is far from settled. While some insist on the sufficiency of the morphological information contained in facial expressions, others construe the objects of emotion perception as more complex, comprising multimodal information such as touch, tone of voice, body postures, and so on. Others, in (...) turn, have gone so far as to deny that there is a pre-given object in emotion perception in the first place, so that processes of emotion perception must be conceptualized as emergent and co-constructed phenomena in contexts of social interaction. The purpose of this paper is to argue that John Dewey’s pragmatist theory of emotions can help us make significant theoretical advancements in the understanding of emotion perception, according to which emotions are coordinated modes of behavior that we enact with others in the contexts of social interactions. In this picture, perceiving emotions is a matter of participating in a joint activity of socio- affective coordination. This theory allows us to apprehend important insights about emotion perception that appear in these contemporary debates, while at the same time avoiding their pitfalls. (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)

This paper argues that all-purpose pejoratives such as ‘jerk’ or ‘bastard’ are just plain vanilla descriptions of personality traits that are generally seen as impairing for the self and for interpersonal relationships across different contexts. Thus, all-purpose pejoratives derogate their referents through generalized conversational implicatures: it is common knowledge that those who use these terms accept certain kind of (negative) evaluations and that uses of those terms express such evaluations. One of the main advantages of this approach is that it (...) can be extended to more ‘thick’ pejoratives such as ‘wimp’ or ‘chicken’, which, as Kaplan (1998) himself suggested, are ‘purely descriptive’ of personality traits that are generally seen as ‘personal failings’. Before defending this theory, I criticize i) the standard assumption that allpurpose pejoratives are expressive and ii) the alternative semantic view that allpurpose pejoratives are conventionally associated with a judge parameter. (shrink)

Dans cet essai, je présente l’amusement comique comme étant une émotion en résumant les arguments de Noël Carroll. Malgré certains détracteurs, Carroll prétend que l’amusement est bien une émotion à part entière et qu’elle s’inscrit dans la théorie de l’incongruité en humour. L’essai s’attarde particulièrement à l’objet de l’amusement qui semble soulever un enjeu philosophique. S’il s’agit bien d’une émotion, comment répondre au problème de l’effet périssable de l’amusement ? J’entends par là le fait que le même objet, la même (...) blague, ne génère pas le même effet après plusieurs répétitions. J’avance que l’effet transitoire peut trouver réponse dans une précondition (background condition), selon la théorie d’Oded Na’aman, et que cette précondition serait la surprise. Quoique Carroll exclut d’emblée la notion de surprise comme essentielle à l’amusement, je considère que celle-ci existe déjà, implicitement, dans le concept d’incongruité sur lequel Carroll appuie son argumentaire. Non seulement la surprise répond au problème de l’effet périssable, mais elle donne encore plus de poids à la notion de l’incongruité en humour. (shrink)

This paper deals with the evolutionary origin and the adaptive function of emotion. I discuss the view that emotions have evolved as functional adaptations in both humans and non-human animals in order to cope with adaptive challenges and to promote fitness. I argue that there is evolutionary continuity between humans and animals in emotions and emotional expressions, and discuss behavioural argument for this thesis, specifically, Darwin’s and Ekman’s research on similarities in how humans and animals express their basic emotions. In (...) addition to this argument, I provide neuroscientific evidence that supports the claim that basic emotions are evolutionary old and shared among humans and many other animals. Finally, I conclude that animal emotions can be considered the bases and roots of our emotions that connect us to other sentient beings. (shrink)

We commonly appeal to emotions to explain human behaviour: we seek comfort out of grief, we threaten someone in anger and we hide in fear. According to the standard Humean analysis, intentional action is always explained with reference to a belief-desire pair. According to recent consensus, however, emotions have independent motivating force apart from beliefs and desires, and supplant them when explaining emotional action. In this paper I provide a systematic framework for thinking about the motivational structure of emotion and (...) show how it is consistent with the Humean analysis. On this picture, emotions are not reducible to beliefs and desires, instead their primary motivational force comes from their role as modulators of desires—they control the strength of our occurrent desires. Emotions therefore motivate actions through the belief-desire system instead of overriding it. (shrink)

According to some philosophers, when introspectively attending to experience, we seem to see right through it to the objects outside, including their properties. This is called the transparency of experience. This paper examines whether, and in what sense, emotions are transparent. It argues that emotional experiences are opaque in a distinctive way: introspective attention to them does not principally reveal non-intentional somatic qualia but rather felt valenced intentional attitudes. As such, emotional experience is attitudinally opaque.

This article clarifies the nature of meta-emotions, and it surveys the prospects of applying a version of the perceptualist model of emotions to them. It first considers central aspects of their intentionality and phenomenal character. It then applies the perceptualist model to meta-emotions, addressing issues of evaluative content and the normative dimension of meta-emotional experience. Finally, in considering challenges and objections, it assesses the perceptualist model, concluding that its application to meta-emotions is an attractive extension of the theory, insofar as (...) it captures some distinctive features of meta-emotions—specifically their normative dimension—while locating them within the domain of occurrent affective experiences. (shrink)

Adherence to certain religious beliefs is often cited as both an efficient deterrent to immoral behavior and as an effective trigger of morally praiseworthy actions. I assume the truth of the externalist theory of motivation, emphasizing emotions as the most important non-cognitive elements that causally contribute to behavioral choices. While religious convictions may foster an array of complex emotions in a believer, three emotive states are singled out for a closer analysis: fear, guilt and gratitude. The results of recent empirical (...) studies are examined to evaluate the relative motivational efficiency of all three emotions, as well as the likely negative psychological side-effects of these affective states, such as aggres­sion and depression. While an action motivated by fear of punishment can be seen as a merely prudential strategy, the reparatory incentive of a guilty subject and a desire to reciprocate of the one blessed by undeserved favors are more plausible candidates for the class of genuine moral reactions. The available evidence, how­ever, does not warrant a conclusion that a sense of guilt before God or as a sense of gratefulness to wards God, may produce a statistically significant increase in the frequency of prosocial actions aimed at other humans. (shrink)

A "sad and corrupt" age, a period of "crisis" and "upheaval"—what T.S. Eliot famously summed up as "the panorama of futility and anarchy which is contemporary history." Modernism has always been characterized by its self-conscious sense of suffering. Why, then, was it so obsessed with laughter? From Baudelaire, Nietzsche, Bergson and Freud to Pirandello, Beckett, Hughes, Barnes, and Joyce, no moment in cultural history has written about laughter this much. James Nikopoulos investigates modernity’s paradoxical relationship with mirth. Why was the (...) gesture we conventionally associate with happiness deemed the only sensible way of responding to a world, as Max Weber wrote, that had been "disenchanted of its gods?" In answering these questions, Nikopoulos also delves into our ongoing relationship with laughter. He looks to contemporary research in emotion and evolutionary theory, as well as to the two-thousand-plus-year history of the philosophy of humor, in order to propose a novel way of understanding laughter, humor, and their complicated relationships with modern life. The Stability of Laughter explores how art unsettles the simplifications we revert to in our attempts to make sense of human history and social interaction. (shrink)

De todos os aspectos do comportamento não-verbal, a face é sem dúvida uma das mais ricas e importantes fontes de informação sobre o estado inter- no do outro. Mas expressões faciais são raramente percebidas de forma isolada. Ao contrário, são tipicamente inseridas em contextos sociais ricos e dinâmicos, que incluem gestos e posturas corporais, conhecimento situacional, etc. Com base nessas observações, podemos nos perguntar se o contexto no qual uma expressão é percebida pode influenciar a percepção de emoções nesta expressão. (...) No caso de uma resposta afirmativa, de que modo se daria essa influência contextual, e quais seriam os seus limites? O propósito desse artigo é explorar algumas possibilidades sobre o papel do contexto na percepção de emoções, desde a teoria das emoções básicas, que defende que categorias discretas de emoções podem ser lidas diretamente da face de forma invariável, a abordagens mais contemporâneas, que atribuem um papel constitutivo para o contexto na percepção de emoções. Embora o debate esteja longe de ser resolvido, as conclusões deste artigo apontam para um novo modo de se pensar sobre fenômenos emocionais, onde a díade de interação torna-se a unidade básica de análise, e onde emoções são concebidas como propriedades emergentes de relações em contextos particulares de interação social. (shrink)

In this book, Tom Cochrane develops a new control theory of the emotions and related affective states. Grounded in the basic principle of negative feedback control, his original account outlines a new fundamental kind of mental content called 'valent representation'. Upon this foundation, Cochrane constructs new models for emotions, pains and pleasures, moods, expressive behaviours, evaluative reasoning, personality traits and long-term character commitments. These various states are presented as increasingly sophisticated layers of regulative control, which together underpin the architecture of (...) the mind as a whole. Clearly structured and containing numerous diagrams and examples to illustrate the discussion, this study draws on the latest research from fields including philosophy, psychology and neuroscience, and will appeal to readers interested in the philosophy and cognitive science of emotion. (shrink)

This paper explores the nature of emotions by considering what appear to be two differing, perhaps even conflicting, approaches to affectivity—an evolutionary functional account, on the one hand, and a phenomenological view, on the other. The paper argues for the centrality of the notion of function in both approaches, articulates key differences between them, and attempts to understand how such differences can be overcome.

I offer an account of the ontology of emotions and their expressions, drawing some morals for the view that we can perceive others' emotions in virtue of seeing their expressions.

Rüdiger Bittner argues that regret is not useful and so it is always unreasonable to feel and express it. In this paper, I argue that regret is often reasonable because regret has a communicative function: it communicates where we stand with respect to things we have done and outcomes that we have caused. So, I not only argue that Bittner’s argument is unsuccessful, I also shed light on the nature and purpose of regret.

Edited book containing Italian translations of essays from prominent contemporary English-speaking philosophers on the topics of expression and expressiveness.

The Expression of Emotion collects cutting-edge essays on emotional expression written by leading philosophers, psychologists, and legal theorists. It highlights areas of interdisciplinary research interest, including facial expression, expressive action, and the role of both normativity and context in emotion perception. Whilst philosophical discussion of emotional expression has addressed the nature of expression and its relation to action theory, psychological work on the topic has focused on the specific mechanisms underpinning different facial expressions and their recognition. Further, work in both (...) legal and political theory has had much to say about the normative role of emotional expressions, but would benefit from greater engagement with both psychological and philosophical research. In combining philosophical, psychological, and legal work on emotional expression, the present volume brings these distinct approaches into a productive conversation. (shrink)

I outline an account of perceptual knowledge and assess the extent to which it can be employed in a defence of perceptual accounts of emotion and value recognition. I argue that considerations ruling out lucky knowledge give us some reason to doubt its prospects in the case of value recognition. I also discuss recent empirical work on cultural and contextual influences on emotional expression, arguing that a perceptual account of value recognition is consistent with current evidence.

In “Reactive Attitudes as Communicative Entities” , Coleen Macnamara argues that the reactive attitudes—a class of moral emotions that includes indignation, resentment, and gratitude—are essentially communicative entities. She argues that this conclusion follows from the premises that the reactive attitudes are messages, which have the proper function of eliciting uptake from others. In response, I argue that while the expressions of these emotions may fit this description, the emotions themselves do not. The reactive attitudes neither are messages nor have the (...) proper function of eliciting uptake from others, and thus Macnamara is mistaken to conclude that the reactive attitudes are essentially communicative entities. (shrink)

Social cognition researchers have become increasingly interested in the ways that behavioral, physiological, and neural coupling facilitate social interaction and interpersonal understanding. We distinguish two ways of conceptualizing the role of such coupling processes in social cognition: strong and moderate interactionism. According to strong interactionism (SI), low-level coupling processes are alternatives to higher-level individual cognitive processes; the former at least sometimes render the latter superfluous. Moderate interactionism (MI) on the other hand, is an integrative approach. Its guiding assumption is that (...) higher-level cognitive processes are likely to have been shaped by the need to coordinate, modulate, and extract information from low-level coupling processes. In this paper, we present a case study on Möbius Syndrome (MS) in order to contrast SI and MI. We show how MS—a form of congenital bilateral facial paralysis—can be a fruitful source of insight for research exploring the relation between high-level cognition and low-level coupling. Lacking a capacity for facial expression, individuals with MS are deprived of a primary channel for gestural coupling. According to SI, they lack an essential enabling feature for social interaction and interpersonal understanding more generally and thus ought to exhibit severe deficits in these areas. We challenge SI’s prediction and show how MS cases offer compelling reasons for instead adopting MI’s pluralistic model of social interaction and interpersonal understanding. We conclude that investigations of coupling processes within social interaction should inform rather than marginalize or eliminate investigation of higher-level individual cognition. (shrink)

Among discrete emotions, basic emotions are the most elemental; most distinct; most continuous across species, time, and place; and most intimately related to survival-critical functions. For an emotion to be afforded basic emotion status it must meet criteria of: (a) distinctness (primarily in behavioral and physiological characteristics), (b) hard-wiredness (circuitry built into the nervous system), and (c) functionality (provides a generalized solution to a particular survival-relevant challenge or opportunity). A set of six emotions that most clearly meet these criteria (enjoyment, (...) anger, disgust, fear, surprise, sadness) and three additional emotions (relief/contentment, interest, love) for which the evidence is not yet quite as strong is described. Empirical approaches that are most and least useful for establishing basic-emotion status are discussed. Basic emotions are thought to have a central organizing mechanism and to have the capacity to influence behavior, thoughts, and other fundamental processes. (shrink)

In recent years, several minimalist accounts of joint action have been offered (e.g. Tollefsen Philosophy of the Social Sciences 35:75–97, 2005; Sebanz et al. Journal of Experimental Psychology: Human Perception and Performance, 31(6): 234–1246, 2006; Vesper et al. Neural Networks 23 (8/9): 998–1003, 2010), which seek to address some of the shortcomings of classical accounts. Minimalist accounts seek to reduce the cognitive complexity demanded by classical accounts either by leaving out shared intentions or by characterizing them in a way that (...) does not demand common knowledge of complex, interconnected structures of intentions. Moreover, they propose models of the actual factors facilitating online coordination of movements. The present proposal aims to enrich a minimalist framework by showing how shared emotions can facilitate coordination without presupposing common knowledge of complex, interconnected structures of intentions. Shared emotions are defined for the purposes of this paper as affective states that fulfill two minimal criteria: (a) they are expressed (verbally or otherwise) by one person; and (b) the expression is perceived (consciously or unconsciously) by another person. Various ways in which the fulfillment of (a) and (b) can lead to effects that function as coordinating factors in joint action are distinguished and discussed. (shrink)

We argue that there are three coherent, nontrivial notions of basic-ness: conceptual basic-ness, biological basic-ness, and psychological basic-ness. There is considerable evidence for conceptually basic emotion categories (e.g., “anger,” “fear”). These categories do not designate biologically basic emotions, but some forms of anger, fear, and so on that are biologically basic in a sense we will specify. Finally, two notions of psychological basic-ness are distinguished, and the evidence for them is evaluated. The framework we offer acknowledges the force of some (...) of the objections to basic emotion theory whilst demonstrating that the notion of a basic emotion, once properly reformulated, is still of scientific value. (shrink)

What do we see when we look at someone's expression of fear? I argue that one of the things that we see is fear itself. I support this view by developing a theory of affect perception. The theory involves two claims. One is that expressions are patterns of facial changes that carry information about affects. The other is that the visual system extracts and processes such information. In particular, I argue that the visual system functions to detect the affects of (...) others when they are expressed in the face. I develop my theory by drawing on empirical data from psychology and brain science. Finally, I outline a theory of the semantics of affect perception. (shrink)

In this paper I argue that one of the functions of the perceptual system is to detect other people’s emotions when they are expressed in the face. I support this view by developing two separate but interdependent accounts. The first says that facial expressions of emotions carry information about the emotions that produced them, and about some of their properties. The second says that the visual system functions to extract the information that expressions carry about emotions.

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

Happiness, like other basic emotions, has visual properties that create the conditions for happiness to be perceived in others. This is to say that happiness is perceivable. Its visual properties are to be identified with those facial expressions that are characteristic of happiness. Yet saying that something is perceivable does not suffice for us to conclude that it is perceived. We therefore need to show that happiness is perceived. Empirical evidence suggests that the visual system functions to perceive happiness as (...) well as other basic emotions. Experiences that can be had simply by virtue of how the perceptual system functions are known as observations. I will thus argue that visual experiences in which we become aware of others’ happiness are observations. This approach will provide the necessary conceptual framework to show that we have perceptual knowledge of others’ happiness. (shrink)

Actions expressing emotions pose a notorious challenge to those concerned with the rational explanation of action. The standard view has it that an agent's desires and means‐end beliefs rationally explain his actions, in the sense that his desire‐belief conglomerates are seen as reasons for which he acts. In light of this view, philosophers are divided on the question of whether actions expressing emotions fall short of being rational, or whether the standard model simply needs to be revised to accommodate them (...) as rational. In this paper, I will show that a core class of actions expressing emotions can be explained as rational, yet not within the framework of the standard model. Instead, such actions can be thought of as grounded in reasons provided by the evaluative perspective that an agent has acquired over time, and by which he has come to identify himself. What moves him to act expressively is the fact that he faces rational pressure to revise or re‐affirm his ongoing evaluative perspective in light of changes in his environment that call that very perspective into question. Such expressive actions serve the function of helping the agent re‐adapt to the environment and re‐establish coherence within his evaluative perspective so as to avoid inner division. (shrink)