The aim of this paper is to defend, and in so doing clarify, the claim that the affective component of emotional experience plays an essential explanatory role in the acquisition of evaluative knowledge. In particular, it argues that the phenomenally conscious affective component of emotional experience provides the subject with the epistemic access to the semantic value of evaluative concepts. The core argument relies on a comparison with the role played by the phenomenal character of perceptual experience in the acquisition (...) of knowledge of colours. The upshot is that it is a disanalogy with perceptual experience that explains the essential role of affective experience in acquiring evaluative knowledge, namely its motivational component. (shrink)

The nature of the general connection between emotion and value, and of the various connections between specific emotions and values, lies at the heart of philosophical discussion of the emotions. It is also central to some accounts of the nature of value itself, of value in general but also of the specific values studied within particular philosophical domains. These issues all form the subject matter of this article, and they in turn are all connected by two main questions: (i) How (...) do emotions disclose or create values? (ii) What are the epistemic credentials of emotion in justifying evaluative thought and discourse? This second question obviously presupposes some answer to the first question concerning the way in which emotions reveal, constitute, or create value. (shrink)

According to a popular thought, sympathy is an epistemic phenomenon: in sympathizing with others we come to be aware of them as fellow sentient beings. This view–which I call the Epistemic View–effectively characterizes sympathy as a form of social cognition. In this paper, I will argue against the Epistemic View. As far as I can see, this view radically misconstrues the way sympathy is directed at others. I will at the same time provide some material for, and motivate, an alternative (...) proposal according to which the primary significance of sympathy is practical rather than epistemic. On this account, sympathy is a form of interpersonal acknowledgment rather than interpersonal awareness. (shrink)

This paper offers an epistemic defense of empathy, drawing on John Locke's theory of ideas. Locke held that ideas of shape, unlike ideas of color, had a distinctive value: resembling qualities in their objects. I argue that the same is true of empathy, as when someone is pained by someone's pain. This means that empathy has the same epistemic value or objectivity that Locke and other early modern philosophers assigned to veridical perceptions of shape. For this to hold, pain and (...) pleasure must be a primary quality of the mind, just as shape is a primary quality of bodies. Though Locke did not make that claim, I argue that pain and pleasure satisfy his criteria for primary qualities. I consider several objections to the analogy between empathy and shape-perception and show how Locke's theory has resources for answering them. In addition, the claim that empathetic ideas are object-matching sidesteps Berkeley's influential objection to Locke's theory of resemblance. I conclude by briefly considering the prospects for a similar defense of empathy in contemporary terms. (shrink)

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)

In this paper, we argue that knowledge of emotions essentially depends on introspecting the phenomenology of emotional experiences, and that introspection of emotional experiences is a process by stages, where the most fundamental stage is a non-classificatory introspective state, i.e., one that does not depend on the subject’s classifying the introspected emotion as an instance of any experience type. We call such a non-classificatory kind of introspection primitive introspection. Our main goal is to show that, although not sufficient, primitive introspection (...) is a necessary ground to acquire knowledge of emotions. Our main argument is phenomenological: by examining a variety of examples, we suggest that an accurate analysis of the introspective process through which one comes to know, or refines one’s knowledge of, one’s current emotion requires that one primitively introspects it. (shrink)

Some philosophers claim that emotions are, at best, hindrances to the discovery of evaluative truths, while others omit them entirely from their epistemology of value. I argue, however, that this is a mistake. Drawing an evaluative parallel with Frank Jackson’s Mary case, I show there is a distinctive way in which emotions epistemically enhance evaluative judgment. This is, in fact, a conclusion philosophers of emotion have been eager to endorse. However, after considering several influential proposals—such as the view that emotions (...) generate evaluative concepts, or the view that emotions justify evaluative beliefs on the model of perception—I conclude that the most promising contender is the notion that emotional experience acquaints us with evaluative properties. (shrink)

In this thesis I argue that the affective component of emotional experience plays an essential explanatory role in the acquisition of evaluative knowledge. I call this the notion of affect as a disclosure of value. The thesis is divided into two parts. In the first part I critically assess three contemporary accounts which, I argue, are motivated either implicitly or explicitly by the notion of affect as a disclosure of value. I argue that all three accounts fail due to the (...) theoretical assumptions they inherit from the respective underlying theories of perceptual experience they rely on to theorise the relation between affect and evaluation in emotional experience. Nevertheless, out of the critical assessment I extract three criteria that an account of affect as a disclosure of value ought to satisfy and I clarify the theoretical positions that we ought to avoid. In the second part of the thesis I build on these three criteria to provide an account of affect as a disclosure of value. I argue that at the core of this account is the constitutive thesis that the formation of rationally intelligible motivational states towards an object is constitutive of the disclosure of value. I then argue that a defence of the constitutive thesis commits us to a response-dependent notion of the objectivity of value of the sort defended by David Wiggins and John McDowell. Finally, I rely on the work of John Campbell to clarify both the sort of evaluative knowledge at stake and the role of affect in its acquisition. I argue that the sort of knowledge at stake is the sort that grounds our evaluative concepts and affect provides us with the epistemic access to the evaluative concepts’ semantic value. (shrink)