For a long time, emotions have been ignored in the attempt to model intelligent behavior. However, within the last years, evidence has come from neuroscience that emotions are an important facet of intelligent behavior being involved into cognitive problem solving, decision making, the establishment of social behavior, and even conscious experience. Also in research communities like software agents and robotics, an increasing number of researchers start to believe that computational models of emotions will be needed to design intelligent systems. Nevertheless, (...) modeling emotions in technical terms poses many difficulties and has often been accounted as just not feasible. In this article, there are identified the main problems, which occur when attempting to implement emotions into machines. By pointing out these problems, it is aimed to avoid repeating mistakes committed when modeling computational models of emotions in order to speed up future development in this area. The identified issues are not derived from abstract reflections about this topic but from the actual attempt to implement emotions into a technical system based on neuroscientific research findings. It is argued that besides focusing on the cognitive aspects of emotions, a consideration of the bodily aspects of emotions—their grounding into a visceral body—is of crucial importance, especially when a system shall be able to learn correlations between environmental objects and events and their “emotional meaning”. (shrink)

Cognitive theory (CT) is currently the most widely acknowledged framework used to describe the psychological processes in affective disorders like depression. The purpose of this paper is to assess the philosophical assumptions upon which CT rests. It is argued that CT must be revised due to significant flaws in many of these philosophical assumptions. The paper contains suggestions as to how these problems could be overcome in a manner that would secure philosophical accuracy, while also providing an account that is (...) better suited to explaining some of the cognitive, emotional, and bodily manifestations of affective disorders. (shrink)

Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience could offer (...) new orientations to our understanding of embodied cognition and of aesthetics as a fundamental part of it. We argue that aesthetic experience, especially its emotional dimension, is an evaluative process that influences the anticipation for stable and successful interactions with the environment. In other words, aesthetics facilitates sense-making as they affect what might be anticipated by an action tendency with respect to an environment. (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)