Research has demonstrated that two types of affect have an influence on judgment and decision making: incidental affect (affect unrelated to a judgment or decision such as a mood) and integral affect (affect that is part of the perceiver’s internal representation of the option or target under consideration). So far, these two lines of research have seldom crossed so that knowledge concerning their combined effects is largely missing. To fill this gap, the present review (...) highlights differences and similarities between integral and incidental affect. Further, common and unique mechanisms that enable these two types of affect to influence judgment and choices are identified. Finally, some basic principles for affect integration when the two sources co-occur are outlined. These principles are discussed in relation to existing work that has focused on incidental or integral affect but not both. (shrink)

ABSTRACTPrevious studies have identified two powerful ways to regulate emotional responses to a stressor: experiencing incidental positive emotions and using cognitive reappraisal to reframe the stressor. Several cognitive and motivational theories of positive emotion support the formulation that incidental positive emotions may facilitate cognitive reappraisal. To test the separate and interacting effects of positive emotions and cognitive reappraisal, we first adapted an established picture-based reappraisal paradigm by interspersing blocks of positive emotion inducing and neutral pictures. Across two pre-registered (...) studies, reappraisal effectively decreased self-reported negative emotions and increased self-reported positive emotions; however, experiencing incidental positive emotions did not facilitate reappraisal success. In another preregistered study, we employed a more powerful positive emotion induction via virtual reality, used a social stress anticipation task, and... (shrink)

The impact of incidental emotions on decision making is well established. Incidental emotions can be differentiated on several appraisal dimensions, including certainty-uncertainty. The present research investigates the effect of certainty-uncertainty of incidental emotions on hedonic forecasting. The results of four experimental studies indicate that uncertainty associated incidental emotions, such as fear and hope, compared with certainty emotions, such as anger and happiness, amplify predicted utility. This amplification effect is confirmed for opposite utility types; uncertainty associated emotions, (...) when compared with their certainty counterparts, lead to an overprediction of positive utilities and to an underprediction of negative utilities. In line with the Appraisal-Tendency Framework (Lerner and Keltner, 2000; 2001), this effect is mediated by the prediction task uncertainty, providing evidence for a carryover process of the incidental emotion. The effect of task uncertainty on predicted utility is, in turn, partly mediated by attention to the task, suggesting that an affective adaptation process (AREA model; Wilson & Gilbert, 2008) lies behind the amplification of forecasts. Taken together, these findings extend the impact of certainty-uncertainty to the context of hedonic forecasting and further corroborate the impact of incidental emotions in judgement and decision making. (shrink)

Emotions influence human decisions under risk and uncertainty, even when they are unrelated to the decisions, i.e. incidental to them. Empirical findings are mixed regarding the directions and sizes of the effects of discrete emotions such as fear, anger, or happiness. According to the Appraisal-Tendency Framework (ATF), appraisals of certainty and control determine why same-valence emotions can differentially alter preferences for risky and uncertain options. Building upon this framework of emotion-specific appraisals, we conducted a systematic review and meta-analysis of (...) 28 experimental studies on the effects of discrete incidental emotions on decision-making under risk and uncertainty. We evaluated potential moderators at the task and study levels. We find emotion-specific, moderately heterogeneous effects partially in line with the expectations of the ATF. The framing and financial consequences of choices, the type of choices, and the presence of other participants during the task do not moderate the effect. Our meta-analytic results support the differential influence of discrete, incidental emotions on decision-making under risk and uncertainty depending on appraisals other than valence. We discuss limited sample sizes and heterogeneity as reasons for the absence of significant moderators and encourage experimental investigations of individual differences in the susceptibility to incidental affective influences. (shrink)

Ethicists, regulators and researchers have struggled with the question of whether incidental findings in genomics studies should be disclosed to participants. In the ethical debate, a general consensus is that disclosed information should benefit participants. However, there is no agreement that genetic information will benefit participants, rather it may cause problems such as anxiety. One could get past this disagreement about disclosure of incidental findings by letting participants express their preferences in the consent form. We argue that this (...) freedom of choice is problematic. In transferring the decision to participants, it is assumed that participants will understand what they decide about and that they will express what they truly want. However, psychological findings about people's reaction to probabilities and risk have been shown to involve both cognitive and emotional challenges. People change their attitude to risk depending on what is at stake. Their mood affects judgments and choices, and they over- and underestimate probabilities depending on whether they are low or high. Moreover, different framing of the options can steer people to a specific choice. Although it seems attractive to let participants express their preferences to incidental findings in the consent form, it is uncertain if this choice enables people to express what they truly prefer. In order to better understand the participants' preferences, we argue that future empirical work needs to confront the participant with the complexity of the uncertainty and the trade-offs that are connected with the uncertain predictive value of genetic risk information. (shrink)

Previous research shows differences in reasoning about emotional and neutral stimuli. A common explanation hypothesised for this effect is that emotion incurs an additional cognitive load. If this is the case, incidental emotion should have a greater impact on the reasoning of less proficient reasoners, and when items are more difficult, because a greater proportion of available cognitive resources must be allocated to the task. We manipulated the emotional value of reasoning stimuli using conditioning and with the simultaneous presentation (...) of images. The deleterious effect of emotion on logicality was greater for less proficient reasoners. There was also some indication that the effect of emotion may be more pronounced for more difficult items. Physiological responses and affective evaluations of the stimuli were similar across groups, irrespective of reasoning proficiency. Results provide some support for the hypothesis that the impact of emotion occurs through increased cognitive load. (shrink)

The literature on affective determinants of physical activity is growing rapidly. The present paper aims to provide greater clarity regarding the definition and distinctions among the various affect-related constructs that have been examined in relation to PA. Affective constructs are organized according to the Affect and Health Behavior Framework, including: affective response to PA; incidental affect; affect processing; and affectively charged motivational states. After defining each category of affective construct, we provide examples of relevant research (...) showing how each construct may relate to PA behavior. We conclude each section with a discussion of future directions for research. (shrink)

ABSTRACTThe recognition of emotional facial expressions is often subject to contextual influence, particularly when the face and the context convey similar emotions. We investigated whether spontaneous, incidental affective theory of mind inferences made while reading vignettes describing social situations would produce context effects on the identification of same-valenced emotions as well as differently-valenced emotions conveyed by subsequently presented faces. Crucially, we found an effect of context on reaction times in both experiments while, in line with previous work, we found (...) evidence for a context effect on accuracy only in Experiment 1. This demonstrates that affective theory of mind inferences made at the pragmatic level of a text can automatically, contextually influence the perceptual processing of emotional facial expressions in a separate task even when those emotions are of a distinctive valence. Thus, our novel findings suggest that language acts as a contex... (shrink)

ABSTRACTThe Theory of Event Coding predicts that exposure to affective cues can automatically trigger affectively congruent behaviour due to shared representational codes. An intriguing hypothesis from this theory is that exposure to aversive cues can automatically trigger actions that have previously been learned to result in aversive outcomes. Previous work has indeed found such a compatibility effect on reaction times in forced-choice tasks, but not for action selection in free-choice tasks. Failure to observe this compatibility effect for aversive cues in (...) free choice tasks suggests that control processes aimed at directing behaviour toward positive outcomes may overrule the automatic activation of affectively congruent responses in case of aversive cues. The present study tested whether minimising such control could cause selection of actions that have been learned to result in aversive outcomes. Results showed incidental exposure to aversive cues biased selection of behaviours with learned aver... (shrink)

This article outlines procedures for the feedback of individual research data to participants. This feedback framework was developed in the context of a personalized medicine research project in Canada. Researchers in this domain have an ethical obligation to return individual research results and/or material incidental findings that are clinically significant, valid and actionable to participants. Communication of individual research data must proceed in an ethical and efficient manner. Feedback involves three procedural steps: assessing the health relevance of a finding, (...) re-identifying the affected participant, and communicating the finding. Re-identification requires researchers to break the code in place to protect participant identities. Coding systems replace personal identifiers with a numerical code. Double coding systems provide added privacy protection by separating research data from personal identifying data with a third "linkage" database. A trusted and independent intermediary, the "keyholder", controls access to this linkage database. (shrink)

Military service in general and combat service in particular can be physically and psychologically stressful. Previous studies have focused on risk propensity and risky behavior among soldiers. Yet knowledge is still lacking regarding the impact of type of army service on soldiers’ risk perceptions. The current study examines how type of army service and negative incidental emotions affect risk perceptions. Results of a survey conducted among 153 combat and non-combat Israeli soldiers indicate that respondents serving in combat units (...) on average have more pessimistic risk perceptions than non-combat soldiers. Yet no significant differences emerged between combat and non-combat respondents with respect to their levels of negative incidental emotions. Regression analyses suggest that higher levels of negative incidental emotions are correlated with pessimistic risk perceptions among all respondents, while higher levels of risk attitude are correlated with pessimistic risk perceptions among combat soldiers but not among non-combat soldiers. (shrink)

Behavioral studies have demonstrated differences in the effect of constrained retrieval of semantic vs. non-semantic information on the encoding of foils. However, the impact of recognition on foils between semantic and non-semantic trials remains unclear. This study thus examines the roles of recognition—familiarity and recollection—in constrained retrieval for foils. We applied the event-related brain potentials data of new/old effects to elucidate the neural mechanisms underlying the “foil effect.” Participants encoded semantic and non-semantic tasks, were tested in a blocked memory task (...) with new words presented as foils, and performed a surprise recognition task involving foils and completely new words. Behavioral results showed better recognition performance regarding reaction times and accuracy by hit and correct reject for semantic vs. non-semantic trials in Phase 2. Conversely, inferior recognition performance in reaction times and accuracy by hit and correct reject was noted for semantic vs. non-semantic foils in Phase 3. ERP results showed more positive Frontal N400 for hit in non-semantic trials, more positive late positive component for correct rejects in semantic trials in Phase 2, and more positive LPC for hits in both semantic and non-semantic trials only in Phase 3. Through dual-processing theory, we prove that different task types in constrained retrieval depend on different retrieval processes. Particularly, familiarity may be applied more often in non-semantic trials, and recollection in semantic trials. The difference in processes between semantic and non-semantic trials during constrained retrieval affects incidental encoding of foils. (shrink)

Unethical employee behavior (UEB), an important organizational phenomenon, is dynamic and multi-faceted. Recent renewed interest in the role of emotion in ethical decision-making (EDM) suggests that unethical behaviors are neither always rationally derived nor deliberately undertaken. This study explores how to integrate the conscious and nonconscious dimensions of unethical decision-making. By broadening the scope of inquiry, we explore how integral affect—the emotion tied to anticipated decision outcomes for the employee engaging in misconduct—can shed light on UEB. We review related (...) literature on affect and EDM and propose a model in which we assert that at a decision point, an employee experiences multiple integral affects that are either persuasive or dissuasive toward UEB. We further posit that among these integral affects, a dominant integral affect (DIA) emerges, determining the nature and direction of unethical behavior. In addition, our model considers the role of affective residue and the influence of other factors, such as incidental affect, disposition, context, and retrospection, to derive propositions. Our DIA model can help managers gain a comprehensive understanding of how affect, characterized by its locus (self or other orientation) and valence (enhancing or harming), determines the characteristics of UEB. (shrink)

In this paper, we examine whether affect influences higher level cognitive processes. We review research on the effect of emotion on interpretation, judgement, decision making, and reasoning. In all cases, we ask first whether there is evidence that emotion affects each of these processes, and second what mechanisms might underlie these effects. Our review highlights the fact that interpretive biases are primarily linked with anxiety, while more general mood-congruent effects may be seen in judgement. Risk perception is also affected (...) by negative and positive affect. Research shows complex effects of emotion on decision making and reasoning, with emotion sometimes hindering normatively correct thinking and sometimes promoting it. There are also important effects of emotion on reasoning style. We discuss key differences between the effects of incidental affect (feeling states not related to the semantic contents of the cognitive task) and integral affect (where the feeling state is caused by or linked to the contents of the cognitive task). In the conclusion, we suggest that focusing on some of the constituent mechanisms involved in interpretation, judgement, decision making and reasoning provides a way to link some of the diverse findings in the field. We also highlight important areas for future research. (shrink)

Multiple acoustic dimensions signal speech categories. However, dimensions vary in their informativeness; some are more diagnostic of category membership than others. Speech categorization reflects these dimensional regularities such that diagnostic dimensions carry more “perceptual weight” and more effectively signal category membership to native listeners. Yet perceptual weights are malleable. When short-term experience deviates from long-term language norms, such as in a foreign accent, the perceptual weight of acoustic dimensions in signaling speech category membership rapidly adjusts. The present study investigated whether (...) rapid adjustments in listeners’ perceptual weights in response to speech that deviates from the norms also affects listeners’ own speech productions. In a word recognition task, the correlation between two acoustic dimensions signaling consonant categories, fundamental frequency and voice onset time, matched the correlation typical of English, and then shifted to an “artificial accent” that reversed the relationship, and then shifted back. Brief, incidental exposure to the artificial accent caused participants to down-weight perceptual reliance on F0, consistent with previous research. Throughout the task, participants were intermittently prompted with pictures to produce these same words. In the block in which listeners heard the artificial accent with a reversed F0 × VOT correlation, F0 was a less robust cue to voicing in listeners’ own speech productions. The statistical regularities of short-term speech input affect both speech perception and production, as evidenced via shifts in how acoustic dimensions are weighted. (shrink)

Aristotle’s works on natural science show that he was aware of the affective powers of colour. At De an. 421a13, for example, he writes that hard-eyed animals can only discriminate between frightening and non-frightening colours. In the Nicomachean Ethics, furthermore, colours are the source of pleasures and delight. These pleasures, unlike the pleasures of touch and taste, neither corrupt us nor make us wiser. Aristotle’s views on the affective powers of colours raise a question about the limits he seems to (...) place on the affective powers of pictures at De an. 427b15-24, where he implies that pictures do not affect us immediately. In this paper, I examine the contrast between the affective powers of colour and the affective powers of pictures. I argue that colours can give rise to pleasure and pain in themselves and generate emotions incidentally. Similarly, pictures can please us or affect us in themselves and incidentally. In light of this account, I suggest that, on a plausible reading of De an. 427b15-24, the affective powers of pictures as mimetic objects are not immediate because they require an intervening cause in order to be effective. The representations of pictures and statues affect us either with the mediation of deception or with the mediation of interpretation. (shrink)

In Phillip Kerr’s 1994 spellbinding novel A Philosophical Investigation, the medical test to which the protagonist refers is a functional brain scan based on positron emission tomography. It is used to run large studies of male and female brains and, following a lead suggested by animal studies, has been used to identify rare cases of human male subjects who lack the ventral medial nucleus. This nucleus, in the experiment, is hypothesized to inhibit the activity of the sexually dimorphic nucleus, a (...) preoptic area of the male brain believed to be a repository of male aggressive response. Prior research, we learn from the plot, shows that 3 in 100,000 human males are VMN-negative. Thirty percent of those affected are believed to be in prison or to have a criminal record; 70% are believed to stabilize levels of aggression by producing increased levels of estrogen. Identities of subjects participating in the brain scan studies are protected through the conversion of real names to those of famous figures of the past — Bertrand Russell, Charles Dickens. Those for whom results are unfavorable are recontacted, and they are offered counseling. (shrink)

This study examined the effect of a prior bout of exercise on implicit cognition. Specifically, we examined whether a prior bout of moderate intensity exercise affected performance on a statistical learning task in healthy adults. A total of 42 participants were allocated to one of three conditions—a control group, a group that exercised for 15 min prior to the statistical learning task, and a group that exercised for 30 min prior to the statistical learning task. The participants in the exercise (...) groups cycled at 60% of their respective V˙O2max. Each group demonstrated significant statistical learning, with similar levels of learning among the three groups. Contrary to previous research that has shown that a prior bout of exercise can affect performance on explicit cognitive tasks, the results of the current study suggest that the physiological stress induced by moderate-intensity exercise does not affect implicit cognition as measured by statistical learning. (shrink)

A set of approximately 500 words taken from the literature on emotion was examined. The overall goal was to develop a comprehensive taxonomy of the affective lexicon, with special attention being devoted to the isolation of terms that refer to emotions. Within the taxonomy we propose, the best examples of emotion terms appear to be those that (a) refer to internal, mental conditions as opposed to physical or external ones, (b) are clear cases of stares, and (c) have affect (...) as opposed to behavior or cognition as a predominant (rather than incidental) referential focus. Relaxing one or another of these constraints yields poorer examples or nonexamples of emotions; however, this gradedness is not taken as evidence that emotions necessarily defy classical definition. (shrink)

In the past two to three decades health behavior scientists have increasingly emphasized affect-related concepts (including, but not limited to emotion) in their attempts to understand and facilitate change in important health behaviors, such as smoking, eating, physical activity, substance abuse, and sex. This article provides a narrative review of this burgeoning literature, including relevant theory and research on affective response (e.g., hedonic response to eating and drug use), incidental affect (e.g., work-related stress as a determinant of (...) alcohol use), affect processing (e.g., anticipated regret for illicit sex or skipping an exercise session), and affectively charged motivation (e.g., cigarette craving). An integrative dual-processing framework is presented that suggests pathways through which affect-related concepts may interrelate to influence health behavior. (shrink)

Limited distribution phenomena related to negation and negative polarity are usually thought of in terms of affectivity where affective is understood as negative or downward entailing. In this paper I propose an analysis of affective contexts as nonveridical and treat negative polarity as a manifestation of the more general phenomenon of sensitivity to (non)veridicality (which is, I argue, what affective dependencies boil down to). Empirical support for this analysis will be provided by a detailed examination of affective dependencies in Greek, (...) but the distribution of any will also be shown to follow from (non)veridicality. (shrink)

Coming out, or the disclosure of a minority identity, features prominently across disciplines, including several subfields of sociological research. In the context of sexuality, theoretical arguments offer competing predictions. Some studies propose that coming out is increasingly an unremarkable life transition as the stigma associated with non-heterosexualities attenuates, while others posit entrenched discrimination. Rather than testing these theories or providing incremental evidence in support of one position, we use 52 in-depth interviews with recently-out individuals to explain how identity disclosures in (...) the present moment can validate plural possibilities. Our findings show that ambivalence is the core narrative which animates the contemporary coming out process. Respondents identify three interpretive frameworks that structure their experience of sexuality as at once incidental and central: generational differences, identity misrecognitions, and interfacing with institutions. We also detail a fourth theme, intersectionality, which shows the analytic limits of ambivalence in the coming out process. These patterns suggest more broadly that sexuality, like ethnicity, may provide symbolic resources—“distinguishing but not defining”—in the service of crafting a modern sexual self. (shrink)

Although the literature has focused on individual differences in authenticity, recent findings suggest that authenticity is sensitive to context; that is, it is also a state. We extended this perspective by examining whether incidental affect influences authenticity. In three experiments, participants felt more authentic when in a relatively positive than negative mood. The causal role of affect in authenticity was consistent across a diverse set of mood inductions, including explicit (Experiments 1 and 3) and implicit (Experiment 2) (...) methods. The link between incidental affect and state authenticity was not moderated by ability to down-regulate negative affect (Experiments 1 and 3) nor was it explained by negative mood increasing private self-consciousness or decreasing access to the self system (Experiment 3). The results indicate that mood is used as information to assess one's sense of authenticity. (shrink)

The aim of this study was to investigate the effect of numeracy and the emotion of fear on the decision-making process. While previous research demonstrated that these factors are independently related to search effort, search policy and choice in a decision from experience task, less is known about how their interaction contributes to processing information under uncertainty. We attempted to address this problem and to fill this gap. In the present study, we hypothesized that more numerate people would sample more (...) information about a decision problem and that the effect of fear would depend on the source of this emotion: whether it is integral (i.e., relevant) or incidental (i.e., irrelevant) to a decision problem. Additionally, we tested how these factors predict choices. We addressed these hypotheses in a series of two experiments. In each experiment, we used a sampling paradigm to measure search effort, search policy and choice in nine binary problems included in a decision from experience task. In Experiment 1, before the sampling task we elicited incidental fear by asking participants to recall fearful events from their life. In Experiment 2, integral fear was elicited by asking participants to make choices concerning medical treatment. Decision problems and their payoff distributions were the same in the two experiments and across each condition. In both experiments, we assessed objective statistical numeracy and controlled for a change in the current emotional state. We found that more numerate people sampled more information about a decision problem and switched less frequently between alternatives. Incidental fear marginally predicted search effort. Integral fear led to larger sample sizes, but only among more numerate people. Neither numeracy nor fear were related to the number of choices that maximized expected values. However, across two experiments sample sizes predicted the number of choices that maximized experienced mean returns. The findings suggest that people with higher numeracy may be more sensitive to integral emotions; this may result in more effortful sampling of relevant information leading to choices maximizing experienced returns. (shrink)

New paradigms in the psychology of reasoning have included a consideration for general contextual factors that may impact on the reasoning process, including individuals’ goals and motivations. We suggest that emotions are one such important contextual factor that influences reasoning. The classic literature on thinking and reasoning has typically ignored the possible influence of emotion, except to consider it a source of disruption. We review findings from studies where participants were asked to reason about personally relevant emotional experiences such as (...) sexual abuse, war, and terrorist attacks. While some findings are consistent with the view that incidental emotions have a deleterious effect on reasoning, a number of findings also suggest a beneficial impact of emotion. For instance, veterans reasoned more logically about combat-related syllogisms than structurally identical syllogisms with neutral contents; victims of sexual abuse reporting more negative emotions following the events also reasoned more logically on abuse-related contents, relative to neutral contents. This may be associated with integral emotions, when the affective reaction is relevant to the semantic contents reasoned about. We propose that the positive impact of integral emotions on reasoning can be explained by increased utility of problem content and increased utility of reasoning. (shrink)

Options are often presented incidentally in a sequence, but does serial position impact choice after delay, and if so, how? We address this question in a consequential real-world choice domain. Using 25 years of citation data, and a unique identification strategy, we examine the relationship between article order and citation count. Results indicate that mere serial position affects the prominence that research achieves: Earlier-listed articles receive more citations. Furthermore, our identification strategy allows us to cast doubt on alternative explanations and (...) instead indicate that the effect is driven by psychological processes of attention and memory. These findings deepen the understanding of how presentation order impacts choice, suggest that subtle presentation factors can bias an important scientific metric, and shed light on how psychological processes shape collective outcomes. (shrink)

Vocabulary knowledge affects any learner’s general language proficiency and the lack of vocabulary is often seen as an obstacle in a student’s progress. This statement becomes even truer when considering languages for specific purposes as the knowledge of technical vocabulary is closely connected to mastering professional skills. The research on vocabulary learning distinguishes two types of learning, incidental and intentional, which should complement each other. One of the most efficient intentional strategies proved to be the use of flashcards. Modern (...) technologies have contributed to further development of this rather popular method by offering new ways of vocabulary consolidation as well as novel forms of interaction. The main objective of the paper is to introduce a teaching methodology aimed at the intentional building of students’ vocabulary, however, at the same time making students being aware of a broader context in which a word or a collocation is used. The presented methodology involves student generated and recycled content as well as the use of electronic tools, namely Google docs and Quizlet. In the course of three subsequent spring semesters, students first created a Google Docs collaborative learning log with lists of vocabulary, the following year’s students uploaded the lists of definitions and translations into Quizlet sets and in the final year the words in Quizlet flashcards where supplemented with example sentences. Students’ performance showed that both Google Docs and Quizlet are efficient tools not only for vocabulary learning, but also for language teaching. The proposed methodology was used in legal English classes, however, it can be implemented in any language course. (shrink)

Specificities of enzymes involved in plant specialized metabolism, including flavonoid biosynthesis, are generally promiscuous. This enzyme promiscuity has served as an evolutionary basis for new enzyme functions and metabolic pathways in land plants adapting to environmental challenges. This phenomenon may lead, however, to inefficiency in specialized metabolism and adversely affect metabolite‐mediated plant survival. How plants manage enzyme promiscuity for efficient specialized metabolism is, thus, an open question. Recent studies of flavonoid biosynthesis addressing this issue have revealed a conserved strategy, (...) namely, a homolog of chalcone isomerase with no catalytic activity binds to chalcone synthase, a key flavonoid pathway enzyme, to narrow (or rectify) the enzyme's highly promiscuous product specificity. Reducing promiscuity via specific protein–protein interactions among metabolic enzymes and proteins may be a solution adopted by land plants to achieve efficient operation of specialized metabolism, while the intrinsic promiscuity of enzymes has likely been retained incidentally. (shrink)

In its formlessness and potentiality, prime matter is a problematic entity of medieval metaphysics and its ontological limitations drastically affect human possibility of conceiving it. In this article, I analyse three influential strategies elaborated to justify an epistemic access to prime matter. They are incidental perception, negative abstraction, and analogy. Through a systematic and historical analysis of these procedures, the article shows the richness of interpretations and theoretical stakes implied by the conundrum of how prime matter can be (...) known by human beings. In particular, the reasons behind the later medieval acceptance of analogy as the main way to unveil prime matter become clearer by pointing out the correlation between the ontological and epistemological levels of the medieval examination of prime matter. (shrink)

If Bradley is a neglected philosopher, Bradley’s theory of signs is the most neglected part of his philosophy. There is no doubt that is has been overlooked in favour of the more famous doctrine of judgement, or in favour of the highly peculiar conception of thought, which notoriously entails its suicide. In this paper, I will claim that the latter are by and large a product of the former, which affects Bradley’s philosophy through to its end. Accordingly, I will not (...) attempt, unless incidentally, to compare Bradley’s theory with contemporary formulations, nor will I criticise it from external points of view; rather, I will focus on its internal weakness and try to understand what kinds of philosophical problems it raises. (shrink)

If Bradley is a neglected philosopher, Bradley’s theory of signs is the most neglected part of his philosophy. There is no doubt that is has been overlooked in favour of the more famous doctrine of judgement, or in favour of the highly peculiar conception of thought, which notoriously entails its suicide. In this paper, I will claim that the latter are by and large a product of the former, which affects Bradley’s philosophy through to its end. Accordingly, I will not (...) attempt, unless incidentally, to compare Bradley’s theory with contemporary formulations, nor will I criticise it from external points of view; rather, I will focus on its internal weakness and try to understand what kinds of philosophical problems it raises. (shrink)

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers, and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing (...) dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main “communicative portal” with respect to the transmission of intent, affect and empathy. (shrink)

Finding something humorous is intrinsically rewarding and may facilitate emotion regulation, but what creates humour has been underexplored. The present experimental study examined humour generated under controlled conditions with varying social, affective, and cognitive factors. Participants listed five ways in which a set of concept pairs (e.g. MONEY and CHOCOLATE) were similar or different in either a funny way (intentional humour elicitation) or a “catchy” way (incidental humour elicitation). Results showed that more funny responses were produced under the (...) class='Hi'>incidental condition, and particularly more for affectively charged than neutral concepts, for semantically unrelated than related concepts, and for responses highlighting differences rather than similarities between concepts. Further analyses revealed that funny responses showed a relative divergence in output dominance of the properties typically associated with each concept in the pair (that is, funny responses frequently highlighted a property high in output dominance for one concept but simultaneously low in output dominance for the other concept); by contrast, responses judged not funny did not show this pattern. These findings reinforce the centrality of incongruity resolution as a key cognitive ingredient for some pleasurable emotional elements arising from humour and demonstrate how it may operate within the context of humour generation. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

Fairness-related decision making is an important issue in the field of decision making. Traditional theories emphasize the roles of inequity aversion and reciprocity, whereas recent research increasingly shows that emotion plays a critical role in this type of decision making. In this review, we summarize the influences of three types of emotions (i.e., the integral emotion experienced at the time of decision making, the incidental emotion aroused by a task-unrelated dispositional or situational source, and the interaction of emotion and (...) cognition) on fairness-related decision making. Specifically, we first introduce three dominant theories that describe how emotion may influence fairness-related decision making (i.e., the wounded pride/spite model, affect infusion model, and dual-process model). Next, we collect behavioral and neural evidence for and against these theories. Finally, we propose that future research on fairness-related decision making should focus on inducing incidental social emotion, avoiding irrelevant emotion when regulating, exploring the individual differences in emotional dispositions, and strengthening the ecological validity of the paradigm. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly the members (...) of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

Jurors’ emotions, both integral and incidental, can affect their attributions of legal responsibility and blame in several, sometimes complexly interrelated ways. The article reviews the experimental research, outlining the multiple paths of emotional influence, and explains why identifying them is worthwhile. It then discusses why the modest to moderate effect sizes found in the research may understate emotions’ actual influence in some cases yet overstate it in others, and discounts moral intuitionism as a reason for believing that emotional (...) influences in real cases are stronger than the experimental data indicates. The article concludes with recommendations for further research. (shrink)

This article presents three studies examining the importance of identification with characters in research on media entertainment. In Study 1 it was found that identification with characters was associated with spectators' degree of enjoyment of feature films of different genres. Study 2 showed that identification with characters predicts the affective impact of a dramatic film and, also, it was associated with greater cognitive elaboration and a more complex reflexive process during the viewing of the dramatic film. In Study 3 it (...) was observed that identification with characters predicted the incidental impact of a full length fictional film on attitudes and beliefs. These results support the centrality of the construct of identification with characters in narrative persuasion research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 27-40 [Access article in PDF] Sensible Qualities: The Case of Sound Robert Pasnau University of Colorado 1. Background The Aristotelian tradition distinguishes the familiar five external senses from the less familiar internal senses. Aristotle himself did not in fact use this terminology of 'external' and 'internal,' but the division became common in the work of Arab and Hebrew philosophers, and in (...) the Latin West the distinction is taken for granted.1 I am going to put to one side the obscurities involved in the various internal senses of phantasia, imagination, memory, etc.; I will instead focus on the external senses. These five external senses—sight, hearing, smell, taste, touch—have their familiar counterparts in the external world: color, sound, odor, flavor, and the various tangible qualities. (The tangible qualities, unfortunately, resist being reduced to a single genus, and are typically listed as hot and cold, wet and dry, etc., where this etc. stands in for the complete list that one might or might not be able to give.2 ) These sensibilia (I will simply speak of sensibles) were known as the proper or special objects of the external senses.In addition to these proper objects, the senses were taken to have five common objects—size, shape, number, motion, rest—and also an unlimited variety of incidental objects, the per accidens sensibles—Coriscus, one's enemy, a horse race, etc. These per accidens sensibles are in a way the most interesting and important sense objects of all. They are interesting, first, inasmuch as one of the hardest and most interesting problems about perception is the problem of seeing as, which seems to be precisely the phenomenon at issue [End Page 27] here. They are important, also, inasmuch as genuine perception, as we now think of it, almost always involves the perception of something sensible per accidens. Our everyday sensory experiences revolve around the experience of seeing objects of certain kinds. We can of course step back and decide that what we are really seeing is colors and shapes. But that is not how we ordinarily see things.Despite their interest and importance, I want to put aside these per accidens sensibles, and focus instead on the common and proper sensibles, both of which Aristotle described as sensible per se (kath' hauta). In his classic statement on the objects of sensation, at De anima II 6, 418a7-25, Aristotle suggests that the grounds for distinguishing the per se from the per accidens are that the former sensibles are capable in their own right of making an impression on the senses. Color itself affects the external senses, and so does size. Coriscus, however, considered as Coriscus, does no such thing. He affects the senses only inasmuch as he is colored, perfumed, etc.3 To focus on the per se sensibles, then, is to focus on those things in the world that are suited to make impressions on the external senses.Why are some such sensibles proper, whereas others are common? The well-known rule of thumb here, reflected in how we refer to these sensibles, is that each proper sensible can be perceived by only one of the external senses. The common sensibles are those per se sensibles that fail this test. (Note that, of the common sensibles, only number, movement and rest are truly common to all five of the senses; shape and size are perceptible only by touch and sight.4 ) It is not clear, however, that this is the appropriate criterion for distinguishing the proper from the common sensibles. Albert the Great, for instance, argues that a proper sensible must meet three tests: (1) It is sensed by only one sense; (2) this sense is not capable of error with respect to it; and (3) the organ of this sense is naturally suited to be affected by it alone.5 The last of these tests is problematic, however, for at least two reasons. First, it is problematic for touch, given that the tangible qualities resist being reduced to a single genus. Second, more seriously... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 188-193 [Access article in PDF] Response to June Boyce-Tillman, "Towards an Ecology of Music Education" Mark Garberich Michigan State University June Boyce-Tillman's "Towards an Ecology of Music Education" challenges the foundations of music education philosophy and its application to practice. Beginning with the identification and clarification of what are described as "subjugated ways of knowing," she advocates the restoration and application of (...) these approaches to instruction. She completes the description and definition of the interlocking [End Page 188] areas of musical experience by providing an actual project that exemplifies these tenets. I offer my humble appreciation of the attention she gives to the exploration of alternate approaches to music instruction and to the need for a clearer connection between community and individual and between culture and music education."Toward an Ecology of Music Education" is about values. Values may well be the defining word of this era in Western education and society. Changes in demographics, belief systems, and political dogma have de-stabilized the foundations of social and political frameworks, regardless of their efficacy. So, I would like to elaborate on the values represented in this paper, discussing them in relation to teaching, democracy, and diversity in music education. Values and Teaching Each of us carries our worldview into our work and we cannot deny our philosophical identity. However, the degree to which we allow our worldview to affect our teaching should be limited by the priorities of our instruction. Consider music education as having three broad perspectives: (a) purpose in society, (b) purpose for the individual, and (c) aesthetics (inherent value). The position of the three is not hierarchical and each can be considered apart from the others. We give evidence of our real motivation in music education by the emphasis we place upon each of these three. The aesthetically inclined find appeal in teaching for the inherent value in music. Those who strongly maintain a social agenda may be attracted by the possibilities of improving society as a whole through music education. Plato's view of music education was oriented almost exclusively toward his purposes for society. In his writing, any consideration of effect on the individual was only incidental to his primary concern of its effect on society.The true teacher, however, will always gravitate toward the purpose for the individual. A person is the source of his ideas, and does not the creator stand above his creation? Do music teachers teach music? No, they teach students about music. Though we cannot separate ourselves from our love of beauty of form and expression in music nor can we forget our personal commitments toward improving the world around us, yet we must remember that it is the individual student who is the focus of music instruction. If this is true, we can draw some conclusions about our right to bring about change.Do we have the right to proselytize individual students so that they might become adherents of our worldview? As an evangelical Christian, perhaps even a fundamentalist, I admit that I have observed changes in society over my lifetime with some sadness. It is difficult to see the country I love, which was founded upon Judeo-Christian principles, gradually losing touch with those principles. How will departure from those principles affect the direction and stability of the [End Page 189] nation founded upon them? As a teacher, however, I understand that it is my responsibility to teach students about music and that I have a responsibility to parents, who in a democratic society, hold responsibility not only for the spiritual, moral, and social education of their children, but also for the spiritual, moral, and social direction of a nation. Teachers are obliged to live as moral examples to students and to demonstrate values in their actions, but to consider the wishes of parents when it comes to the advancement of personal agendas. We do not have the right to encroach upon the mentoring relationship between parents and children. We must also be careful lest we... (shrink)

Background: Moral distress, defined as moral suffering or a psychological imbalance, can affect nursing students. However, many new instruments or adaptations of other scales that are typically used to measure moral distress have not been used for nursing students. Aim: This study aimed to translate, culturally adapt and evaluate the psychometric properties of an Italian version of the Moral Distress Scale for Nursing Students for use with delayed nursing students. Research design: The study used a cross-sectional research design. Participants (...) and research context: Incidental sampling resulted in a sample of 282 delayed nursing students enrolled between May and August 2020 in a University of central Italy. Ethical considerations: The research protocol was approved by the internal review board of the university, and all participants provided their written informed consent. Results: The study confirmed a multidimensional second-order factorial structure for the It-ESMEE with five dimensions: improper institutional conditions to teach user care, authoritarian teaching practices, disrespect for the ethical dimension of vocational training, lack of competence of the teacher and commitment of ethical dimension of user care. The internal consistency was high, and the standard error of measurement and smallest detectable change were adequate. Discussion: The It-ESMEE is able to assess moral distress in delayed nursing students with good validity and reliability. It can be used in research and to determine moral distress levels, helping teachers to monitor the condition in nursing students. Conclusion: This instrument can help in comprehending moral distress, enabling students to develop coping and intervention strategies to maintain their well-being, and to ensure the quality of nurse education. (shrink)

Volition and Allied Causal Concepts is a work of aetiology and metapsychology. Aetiology is the branch of philosophy and logic devoted to the study of causality (the cause-effect relation) in all its forms; and metapsychology is the study of the basic concepts common to all psychological discourse, most of which are causal. Volition (or free will) is to be distinguished from causation and natural spontaneity. The latter categories, i.e. deterministic causality and its negation, have been treated in a separate work, (...) The Logic of Causation. Volition may be characterized as personal causality, a relation between an agent (the self or soul) and his actions (acts of will). Unlike causation, this relation cannot be entirely defined using conditional (if–then) propositions. Although we can say that the agent is a sine qua non of his actions, we cannot say that the agent is invariably (in all or specific circumstances) followed by his actions. It appears that both an act of will and its negation remain possible to a soul in any given set of circumstances. This defines freedom of the will, and implies the responsibility of the agent for his actions. Introspection provides knowledge of particular acts of will. The existence of freewill implies a distinction between necessary causation (determinism independent of volition) and inertial causation (determinism, except when some contrary will interferes). An act of will occurs on a spiritual plane. It may have natural (mental or physical) consequences; those that inevitably follow it may be regarded as directly willed, whereas those that vary according to circumstances must be considered indirectly willed. Volition presupposes some degree of consciousness. So-called involuntary acts of will involve a minimum of attention, whereas mindful acts are fully conscious. Even pure whim involves intention. Most volitions moreover involve valuation, some sort of projection of goals, deliberation on means, choice and decision. To judge responsibility, various distinctions are called for, like that between intentional, incidental and accidental consequences. Volitional action can be affected through the terms and conditions of the world surrounding its agent, but also more intimately through the influence of concrete or abstract aspects of that world that the subject has cognized. The causal concept of influence, and its implication of cognition (of inner or outer information, including emotions), are crucial to measuring the effort involved in volition. Influences make willing easier or harder, yet do not curtail its essential freedom. All the causal concepts used in psychological explanation – affections, appetites, instincts, habits, obsessions, compulsions, urges and impulses – can be elucidated thanks to this important finding. Much of human (and animal) behavior can thus be both acknowledged as volitional and as variously influenced. Volition and Allied Causal Concepts is a work of ambitious scope, intent on finally resolving philosophical and logical issues that have always impeded progress in psychology. It clarifies the structure and workings of the psyche, facilitating hygienic and therapeutic endeavors. The relation between volition and physical laws is discussed, as is the place of volition in biology. Concepts used in biology, analogous to that of purpose, are incidentally analyzed. Theological issues are also dealt with, as are some topics in ethics and law. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly the members (...) of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

For two and a half millennia readers of Aristotle have been struggling to understand just what sort of causation is being attributed to the Prime Unmoved Mover or PM, whether final or efficient, assuming that this supreme being could not be a material cause or even a formal cause of the entire cosmos. Fred Miller entered into this still ongoing debate with a fresh proposal, drawing on an almost incidental remark in GC 1.6.323a25-33 that was later picked up by (...) Philoponus in his commentary on Aristotle’s text. The fundamental question is whether the PM’s causal role is to be restricted to a case of final causation or is there evidence for efficient causation as well? Just how ancient this question of interpretation is can be clearly shown by the following remarks made by Simplicius in the first half of the sixth century in his Neo-Platonist commentary on Phys VIII.6.267b17-26:Simplicius goes on to argue in some detail for this dual picture, primarily because of his harmonizing approach to Plato and Aristotle, but also by referencing some very specific passages in other works—notably Cael, GC, DM—but also Met, albeit only from its first book (1361.11-1363.24). He starts out here by claiming that “[n]o one disputes that Aristotle calls god or the primary mover a final cause” but realizes that showing that the PM is an efficient cause as well needs some textual support, which he dutifully attempts to provide. We will be going over some of the same ground cited here in trying to articulate Aristotle’s conception of divine causation and in particular to decide if Fred Miller’s thoughts about the “untouched toucher” will help us in the overall endeavor to explore Λ.6-10. Since he points out (at p. 278) that the PM could hardly be a material cause or even a formal cause, his framing the issue as to whether the mode of causation here is exclusively efficient or exclusively final, or, on the other hand, both at once, seems very close to how Simplicius set up the problem. Indeed, he cites the same section of Simplicius’s commentary quoted above and finds this ancient perplexity a good jumping off point for his own attempt to shed light on a fundamental issue of interpretation, noting that if we balk at the Neo-Platonic suggestion that Aristotle’s PM “is on a par with Plato’s demiurge,” the question becomes: “in what way is the prime mover supposed to be an efficient cause?” (p. 279). Miller’s novel suggestion is that one way of dealing with this question is the thought that the PM is an “untouched toucher.” It is crucial to his picture that this suggestion is strongly tied to the prospect of finding “a way in which the unmoved mover of the cosmos could be a genuine efficient cause” (p. 287) and not I believe, as W.D. Ross may have held, an efficient cause only by being a final cause. This will become important when we explore what untouched touching would be quite generally, given the emphasis on the psychological dynamics of this sort of affective action as suggested by the everyday examples provided by both Aristotle and Philoponus. (shrink)

This paper takes as its point of departure the recent publication of Heidegger’s lecture course Basic Concepts of Aristotelian Philosophy and focuses upon Heidegger’s reading of Aristotle’s concept of pathos. Through a comparative analysis of Aristotle’s concept of pathos and Heidegger’s inventive reading of this concept, I aim to show the strengths and weaknesses of Heidegger’s reading. It is my thesis that Heidegger’s account is extremely rich and innovative as he frees up pathos from the narrow confines of psychology and (...) incidental change and places it squarely into the center of the fundamental changes affecting a living being’s existence; simultaneously, however, Heidegger sometimes overstates the ties that pathos has with other concepts such as ousia and logos and highlights exceptional rather than common meanings of pathos, thereby risking the charge of being unfaithful to Aristotle’s text. (shrink)