Plato’s account of pleasure in Republic IX has been treated as an ill-conceived and deeply flawed account that Plato thankfully retracted and replaced in the Philebus. I am convinced, however, that this received view of the Republic’s account is false. In this paper, I will not concern myself with whether, or in what way, Plato’s account of pleasure in the Republic falls short of what we find in the Philebus, but will rather focus on the merits of the (...) former. My concern will be further narrowed down to the first half of the third proof: the proof involves two criteria for the evaluation of pleasures, the criteria of purity and of truth, both of which yield the result that the philosopher’s pleasures are the most pleasant (because it turns out that only those pleasures are pure and only they are true). I will be addressing the criterion of purity, which is based on a psychological/phenomenological account of pleasure and pain. This account has been harshly criticized as full of ambiguity and confusion, as I explain in detail below. I believe, however, that these criticisms result from misunderstanding, and failing to appreciate the complexity of, Plato’s account. In this paper, I will offer an interpretation of Plato’s psychological account of pleasure and pain in Republic IX, showing that this account is, contrary to its detractors, both interesting and persuasive on many points. (shrink)

Description from a book review by J. G. Beebe-Center: "Mr. Allen's book develops in detail the view that pleasure and unpleasure are essentially manifestations of the progression and thwarting of impulses. Part one is a brief summary of the principal theories of feeling. Part two is devoted to "sensory" or "bodily" pleasure and unpleasure. These forms of feeling, it is argued, 'depend on an analogue of conation existing in the organism, a nisus to maintain, or to carry out (...) to the full extent, the functioning proper to the bodily system.' Part three -- the piece de resistance (about half the book) -- deals with the relation of pleasure and unpleasure to the main instincts. Parts four, five and six take up a number of classical problems: the relation of pleasure and unpleasure to sensation, their relation to desire, the relativity of feelings, the qualitative variety of feelings, and the psychology of values. The author shows throughout a rare combination of historicophilosophical sophistication and of first-hand familiarity with the modern experimental literature.". (shrink)

PREFACE -/- WHEN first I undertook the study of the theory of Art, many years ago, I was impressed by the emphasis of pleasure attainment in all descriptions of art works, and by the emphatic pleasurableness of my own mental state during the contemplation of artistic productions. -/- My thought being thus turned to the consideration of the relation of æsthetics to hedonics, I was led to make a careful study of the psychology of pleasure and of (...) its correlate pain: the results of this study I here lay before those who may be interested. (shrink)

Several tensions run through philosophical debates on the nature of pleasure: is it a feeling or an attitude? Is it excited engagement during activities, or satisfaction and contentment at their completion? Pleasure also plays fundamental explanatory roles in psychology, neuroscience, and animal behavior. I draw on this work to argue that pleasure picks out two distinct, but interacting neurobiological systems with long evolutionary histories. Understanding pleasure as having these two facets gives us a better account (...) of pleasure and explains the persistent tensions in the concept. This account of pleasure also sheds light on happiness and well-being. (shrink)

This article focuses on the substantial progress in understanding the psychology and neurobiology of sensory pleasure that has been made over the last decade. The link between pleasure and happiness has a long history in psychology. The growing evidence for the importance of affect in psychology and neuroscience shows a scientific account that involves hedonic pleasures and displeasures. A neurobiological understanding is required of how positive and negative effects are balanced in the brain. The article (...) surveys developments in understanding brain mechanisms of pleasure. It identifies a number of brain regions that are important in the brain's hedonic networks, and speculated on potential interaction with eudaimonic networks. The scientific study of pleasure and affect demonstrates the evolution of emotions and affective expressions, and suggests that these are adaptive responses to environmental situations. (shrink)

In Nicomachean Ethics X.5, Aristotle gives a series of arguments for the claim that pleasures differ from one another in kind in accordance with the differences in kind among the activities they arise in connection with. I develop an interpretation of these arguments based on an interpretation of his theory of pleasure (which I have defended elsewhere) according to which pleasure is the perfection of perfect activity. In the course of developing this interpretation, I reconstruct Aristotle’s phenomenology of (...) pleasure, arguing that while he denies that all pleasures share any given phenomenal element, he does think that all pleasures have a common phenomenal structure. Finally, I argue that Aristotle’s view that pleasures differ in kind does not imply that they cannot be compared in pleasantness. (shrink)

The Temporal Experience of Pleasure Scale (TEPS) is a self-report instrument assessing pleasure experience. The present study aimed to confirm the factor model of the Chinese version of TEPS and test measurement invariance of the scale across gender in Chinese university students. Participants were 2977 (51% female) undergraduates aged from 16 to 27 years (Mean age = 18.9 years). Results indicated that the revised four-factor structure of the TEPS had acceptable fit in the total sample and in gender (...) groups. Furthermore, configural, metric and partial scalar invariance across gender were established. Two of the items (item 4 and 8) demonstrated different intercepts and women scored higher than men on both items. With partial scalar invariance demonstrated, test of differences in latent means indicated that men had lower levels of pleasure when compared with women. To our knowledge, this study is the first attempt to test the measurement invariance of the TEPS across gender, which provides support for future research that involves examining hedonic capacity in Chinese men and women. (shrink)

Many ethicists writing about well-being have assumed that claims made about the relationship between pleasure and well-being carry similar implications for the relationship between pain and well-being. I argue that the current neuroscience of pleasure and pain does not support this assumption. In particular, I argue that the experiences of pleasure and pain are mediated by different cognitive systems, that they make different contributions to human behavior in general and to well-being in particular, and that they bear (...) fundamentally different relationships to our motivational systems and hence desires. I further argue that though there is ample evidence that pleasure can be dissociated from appetitive motivation, there is no compelling evidence suggesting that the unpleasantness of pain can be dissociated from the aversive motivational force of pains. I consider several objections to this claim, including Jennifer Corns’ recent arguments that the unpleasantness of pain experience can be dissociated from the motivational signal of pain, before briefly drawing some lessons for ethics. (shrink)

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, (...) it plays a critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

Examines the formation, structure and collapse of the bourgeois world view, exploring the concepts of fun, happiness, pleasure, and excitement.

Soul-body. The soul-body problem (psyche-soma) -- Mental functions. Sense-perception ; Thought and judgement ; Volition (will) and psychomotor function ; Affect (mood) ; Memory ; Consciousness--dreams ; Nutrition and reproduction -- Formation of the personality. The gifts of nature ; The effects of the environment ; The responsibility of one's self ; Special characteristics according to age and gender -- Interpersonal relations. Family relations ; Friendship ; Erotic love -- Psychoanalytic concepts and Aristotle's psychology. Some basic psychoanalytic concepts ; (...) Narcissism--self-love ; Pleasure (hedone). (shrink)

Contrary to both his own intentions and the views of both older and more recent commentators, I argue that Kant’s aesthetics remains within the confines of eighteenth-century aesthetics as a branch of empirical psychology, as it was then practiced. Kant established a plausible connection between aesthetic experience and judgment on the one hand and cognition in general on the other, through his explanatory concept of the free play of our cognitive powers. However, there is nothing distinctly ‘a priori’ or (...) ‘transcendental’ in his claim that this state of mind is what causes our pleasure in beauty or other aesthetic properties. Nor did Kant establish a genuinely a priori or transcendental principle that all human beings have the same disposition to experience a free play of their cognitive powers, let alone in response to the same objects. This failure, however, in no way limits the continuing significance of Kant’s aesthetic theory.Keywords: Alexander Gerard; Henry Home, Lord Kames; Immanuel Kant; Beauty; Taste; Free play of the cognitive powers. (shrink)

This paper investigates Thomas Aquinas’s threefold division of pleasure into delectatio, gaudium, and fruitio, and its taxonomical basis in his threefold division of knowledge into tactility, the cogitative power, and the intellect. -/- Thomas Aquinas distinguishes three ways in which the sensory and intellectual appetites rest in the good. When the will rests in the intellectually apprehended good, this act is called fruitio; when the concupiscible appetite rests in a good apprehended by the internal senses this passion is called (...) gaudium; and when the concupiscible appetite rests in a good apprehended by the external senses this passion is called delectatio. Each of these appetible goods presupposes a different kind of knowledge of a present good, namely, the knowledge of the intellect, internal senses, and external senses, respectively. The difficulty is that it is not entirely perspicuous what the difference is between the goods apprehended by the external senses and those grasped by the internal senses. How does Thomas justify the distinction between delectatio and gaudium? Can he reasonably maintain that there are three sufficiently different kinds of knowledge that specify three different kinds of pleasure? In order to address these questions this study investigates Thomas’s account of the external and internal senses, and in particular the way in which tactility and the cogitative power supply two kinds of knowledge that specify two kinds of pleasure. (shrink)

Through a radical reinterpretation of classical philosophy as an organizational psychology, The Moral Psychology of St. Thomas: An Introduction to Ragamuffin Ethics just as radically reinterprets St. Thomas Aquinas's moral teaching to be a behavioristic psychology chiefly designed to synthesize right reason and right pleasure to help a person excel at living life as a whole. In the process of so doing, this work demonstrates how the skill of prudential living is a necessary condition for becoming (...) a grand master of leadership in any and every profession. (shrink)

This essay suggests that atheists endorse a range of naturalistic beliefs, such as belief in progress and in science. Social-psychological evidence for this belief replacement hypothesis, where naturalistic beliefs take the place of supernatural ones, is reviewed. Atheists seem to implicitly use their naturalistic beliefs to alleviate feelings of uncertainty, anxiety and stress, a psychological function which, until recently, had only been reported for religious beliefs. The second part of the essay focuses on motivational implications of being an atheist. Here, (...) it is argued that atheists are particularly driven by a desire for self-mastery and, secondarily, by a sensation seeking need to engage in intense and pleasurable activities. A number of sociological, social-psychological, narrative, and sexual-behavioural studies are reviewed to support this idea. The essay concludes by highlighting the human need to believe and the importance of studying the process, rather than the content, of beliefs. (shrink)

We shall defend two theses: (a) if a decision situation exhibits a certain causal structure, then decision theory is in trouble, because the derivation of expected utilities fails; (b) this causal structure in fact obtains in a specific, but very common kind of situation, namely, when the intrinsically evaluated psychological states are in the domain of the utility function. It will be apparent that the problem is but a variant of Joseph Butler's criticism of hedonism. Thus, in a sense, the (...) point of our paper is that modern theorizing about practical deliberation has not dealt seriously with Butler's criticism. (shrink)

Aristotle'sRhetoricdefines fear as a kind of pain (lypē) or disturbance (tarachē) and pity as a kind of pain (2.5.1382 a 21 and 2.8.1385 b 13). In hisPoetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ (τ⋯ν ⋯π⋯ ⋯λέου κα⋯ ɸόβου δι⋯ μιμήσεως δεῖ ⋯δον⋯ν παρασκευάζειν14.1453 b 12–13). The question of the relationship between pleasure and pain in Aristotle's aesthetics has been (...) studied primarily in connection withcatharsis.Catharsis, however, raises more problems than it solves. Aristotle says nothing at all about the tragiccatharsisin thePoeticsexcept to state that tragedy accomplishes it. Though he gives a more complete account ofcatharsisin thePolitics, the context of this passage is so different from that of thePoeticsthat its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of thePoeticsaccording to which (1) a tragedy is pleasurable in one respect and painful in another, and (2) pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of theoikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view ofcatharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)

RESUMEN El trabajo presenta un modelo de psicología moral a partir del análisis del libro primero de las Leyes de Platón y, en particular, de la imagen de la marioneta. Entre los intérpretes contemporáneos se debate sobre si esta imagen compromete una comprensión de la templanza como "victoria" sobre los placeres o si más bien respalda una comprensión de esta virtud como "acuerdo" entre estos y la razón. Para responder a esta cuestión, se recurrirá a la psicología bipartita del Filebo. (...) Esto permitirá reconocer, en la educación de la virtud, el conflicto entre afectos y, en el resultado de este proceso educativo, el acuerdo entre razón y afectividad. ABSTRACT The article presents a moral psychology model on the basis of the analysis of the first book of Plato's Laws, particularly of the image of the puppet. Contemporary interpreters have been debating whether that image entails an understanding of temperance as a "victory" over pleasures, or whether it supports an understanding of that virtue as an "agreement" between pleasures and reason. In order to answer that question, the article resorts to the twofold psychology of the Philebus. This makes it possible to recognize the conflict among affects, in education in virtue, and the agreement between reason and affectivity, in the result of that educational process. (shrink)

In the Critique of Judgment Kant repeatedly points out that it is only the pleasure of taste that reveals to us the need to introduce a third faculty of the mind with its own a priori principle. In order to elucidate this claim I discuss two general principles about pleasure that Kant presents, the transcendental definition of pleasure from § 10 and the principle from the Introduction that connects pleasure with the achievement of an aim. Precursors (...) of these principles had been employed by Kant and others in empirical psychology. But how can such principles of empirical psychology be transferred to transcendental philosophy? I suggest that Kant accomplishes this by deriving the connection of pleasure with achievement of an aim from the transcendental definition and the assumption that faculties have interests. I finally reconstruct § 11 as a ‘regressive argument’ from the peculiarities of the pleasure of taste to the need to acknowledge a new faculty. (shrink)

Table of Contents: Olivier Massin, 'Pleasure and Its Contraries'; Colin Klein, 'The Penumbral Theory of Masochistic Pleasure'; Siri Leknes and Brock Bastian, 'The Benefits of Pain'; Valerie Gray Hardcastle, 'Pleasure Gone Awry? A New Conceptualization of Chronic Pain and Addiction'; Richard Gray, 'Pain, Perception and the Sensory Modalities: Revisiting the Intensive Theory'; Jonathan Cohen and Matthew Fulkerson, Affect, Rationalization, and Motivation; Murat Aydede, 'How to Unify Theories of Sensory Pleasure: An Adverbialist Proposal'; Adam Shriver, 'The Asymmetrical (...) Contributions of Pleasure and Pain to Subjective Well-Being'. (shrink)

This chapter discusses Peter John Olivi’s conception of the role of dispositions in sensory cognition from metaphysical and psychological perspectives. It shows that Olivi makes a distinction between two general types of disposition. Some of them account for the ease, or difficulty, with which different persons use their cognitive powers, while others explain why people react differently to things that they perceive or think. This distinction is then applied to Olivi’s analysis of three different psychological operations, where the notion of (...) disposition figures prominently; estimative perception, perceptual clarity, and the perception of pain and pleasure. The chapter argues that Olivi uses cognitive dispositions in an interesting way to explain individual differences between persons, and that they reveal the dynamic nature of his conception of human psychology. (shrink)

This chapter discusses Peter John Olivi’s conception of the role of dispositions in sensory cognition from metaphysical and psychological perspectives. It shows that Olivi makes a distinction between two general types of disposition. Some of them account for the ease, or difficulty, with which different persons use their cognitive powers, while others explain why people react differently to things that they perceive or think. This distinction is then applied to Olivi’s analysis of three different psychological operations, where the notion of (...) disposition figures prominently; estimative perception, perceptual clarity, and the perception of pain and pleasure. The chapter argues that Olivi uses cognitive dispositions in an interesting way to explain individual differences between persons, and that they reveal the dynamic nature of his conception of human psychology. (shrink)

In the so-called agreement model of psychic conformity, the passions do not retain their former character, only under tighter rein, but take on a new character altogether. In the competing control model, the passions may conform to reason, but they never change their character so as to cooperate with reason, just as a trained lion conforms to the commands of a tamer whose direction it is never capable of internalizing and cooperating. This chapter argues that these two models appear together (...) in Plato for the simple reason that each captures, in its own way, aspects of our psychology Plato finds too important to ignore. It is further argued that without a psychological model of the agent as a whole, Plato lacks the psychological underpinnings for an account of virtue as the transformation of the agent as a whole, and thus for an account of happiness that is holistic rather than dimensional, consisting not in one's flourishing in some dimension of one's life but in one's flourishing as a harmoniously integrated whole. Consequently, Plato offers a compelling ethical and value-theoretical account of pleasure as a conditional good that is rationally incorporated by practical intelligence, but lacks an adequate unified psychology of the affective and rational activities of the soul to underwrite that ethical and value-theoretical account. (shrink)

It is a pleasure to all of us to hold forth upon subjects about which we know very little. It is particularly a temptation to university professors to get away from the subjects of their own chairs and lecture as dogmatically as their nature demands on subjects of other people's chairs. That is why I am speaking to-night about Psychology. As to Vice, the case is a little different. Even if my own experience is regrettably limited, I have (...) for some years studied the Chairman, and I bring my observations before a society full of persons whose range and profundity of knowledge will be sufficient to correct any hasty generalizations on my part. (shrink)

Political figures engage rhetoric and exalted speech to excite the imagination, stir up the emotions, and prompt their listeners to embrace and act on an ideological perspective. However, there is more to excellent public oratory than eloquence. Rational persuasion is also a key component, emphasizing facts, evidence, and reasoning. Hume acknowledges that rational persuasion alone is not terribly effective in the public arena. His corpus contains many references to eloquence. Dispassionate delivery of evidence does not have the psychological impact of (...) eloquent delivery. What explains the difference? My aim in this paper is to use Hume’s theory of belief and “the feeling of conviction” to explain his analysis of effective oratory. Furthermore, I point to the abuses of eloquence in the political arena. Given these abuses, I ask why Hume considers eloquence a virtue. Although eloquence is immediately agreeable to us (one category of virtue for Hume), it can have detrimental, even deadly, consequences. Does this make it vicious in certain cases, since it has disutility, and given that usefulness to the public is another category of virtue for Hume? I suggest that skilled and elegant oratory is pleasing, but such oratory, when used for inhumane ends, could undermine the pleasure of the oratory experience itself. (shrink)

It is a pleasure to all of us to hold forth upon subjects about which we know very little. It is particularly a temptation to university professors to get away from the subjects of their own chairs and lecture as dogmatically as their nature demands on subjects of other people's chairs. That is why I am speaking to-night about Psychology. As to Vice, the case is a little different. Even if my own experience is regrettably limited, I have (...) for some years studied the Chairman, and I bring my observations before a society full of persons whose range and profundity of knowledge will be sufficient to correct any hasty generalizations on my part. (shrink)

In Republic IX, Plato argues that the supreme pleasantness of the virtuous life is a particularly great consideration in demonstrating that the virtuous life is happy. This raises the question of whether this argument spouses the additive or the directive conception of happiness. On the additive conception, the argument is straightforward: the virtuous life is happy because the virtuous life is also the life of supreme pleasure, and the life of supreme pleasure is happy. On the directive conception, (...) the argument is much more subtle: the virtuous life is happy because the virtuous life is the life of a fully integrated, healthy, and flourishing psyche, as demonstrated by the transformation of the affective dimensions of the virtuous person's psyche, and such a life is the happy life. This chapter set out this need for interpretive care in more detail by looking at its connection to a more general problem for understanding how Plato thinks virtue benefits its possessor in the Republic, to which any adequate reconstruction of the ‘pleasure arguments’ in book IX must respond. It is argued that Plato's strategy is to demonstrate that virtue benefits its possessor on the grounds that the virtuous person, and only the virtuous person, possesses a healthy and harmonious psyche. Plato's conception of pleasure in book IX is a form of apprehending one's life as satisfying and worth living, and his argument is that having the true form of such pleasure means that one's life is, in fact, satisfying and worth living, and that one's psyche is healthy and harmonious. And such pleasure is to be found only in the virtuous person. (shrink)

Aristotle's Rhetoric defines fear as a kind of pain or disturbance and pity as a kind of pain . In his Poetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ . The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in connection with catharsis. Catharsis, however, raises more problems than it solves. Aristotle says (...) nothing at all about the tragic catharsis in the Poetics except to state that tragedy accomplishes it. Though he gives a more complete account of catharsis in the Politics, the context of this passage is so different from that of the Poetics that its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of the Poetics according to which a tragedy is pleasurable in one respect and painful in another, and pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of the oikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view of catharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings (...) and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated. (shrink)

Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? (...) What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence. (shrink)

A significant strand of the ethical psychology, aesthetics and politics of Plato's Republic revolves around the concept of poikilia, ‘fascinating variety’. Plato uses the concept to caution against harmful appetitive pleasures purveyed by democracy and such artistic or cultural practices as mimetic poetry. His aim, this article shows, is to contest a prominent conceptual connection between poikilia and beauty (kallos, to kalon). Exploiting tensions in the archaic and classical Greek concept, Plato associates poikilia with dangerous pleasures to redirect admiration (...) toward a distinctly philosophical pursuit of the nature of beauty. This is to displace a prominent and problematic cultural sensibility—the aesthetics of poikilia—not to deny that fascinating variety, even in mimetic poetry, may be beautiful. Rather, Plato's cultural critique lays bare an epistemological problem in the ethical psychology of beauty: since they cannot be distinguished from what seems beautiful, how should one respond to fascinating yet dangerous attractions? (shrink)

Mobile payment has emerged as a popular payment method in many countries. While much research has focused on the antecedents of mobile payment adoption, limited research has investigated the consequences of mobile payment usage relating to how it would influence consumer behaviors. Here, we propose that mobile payment not just reduces the “pain of paying,” a traditional view explaining why cashless payment stimulates spending, but it also evokes the “pleasure of paying,” raising from the enhanced processing fluency in completing (...) transactions. We tested this new conceptualization of “pleasure of paying” using EEG, complementing other behavioral measures. In two studies, we found that mobile payment effectively enhanced purchase likelihood and such an enhancement is generalizable to both hedonic and utilitarian products. By employing EEG measures, we provided the first neural evidence of “pleasure of paying” in addition to the signal of “pain of paying.” Critically, we demonstrated that the “pleasure of paying” is a distinctive psychological mechanism that is induced by mobile payment usage and that the “pleasure of paying” joins the “pain of paying” to mediate the increased purchase intention. We discuss the contributions and implications of these results to the ongoing evolution of cashless payment societies. (shrink)

How and why does a metaphor work? What happens to us when we hear or read one? My guess is that a metaphor, because it is an erroneous statement, conflicts with our expectations. It releases, triggers, and stimulates our predisposition to detect error and to take corrective action. We do not dismiss or reject a metaphor as simply a false statement for we recognize it as a metaphor and know as [Donald] Davidson suggests that it alludes to something else that (...) we might wish to notice. It preempts our attention and propels us on a quest for the underlying truth. We are launched into a creative, inventive, pleasurable act. To turn Piaget around, to invent is to understand. For the hearer or reader of a metaphor to detect, by himself, the nature of the error and to invent his own version of the truth entails understanding and achievement and thus pleasure. Such pleasure perhaps owes its origin to, and is enhanced by an echo from, the metaphoric playfulness of childhood. A metaphor is a peremptory invitation to discovery. What is discoverable are the various allusive ties, or common attributes, between the metaphor and the underlying truth to which it points. It is plausible to guess that the pleasure, and hence power, of the metaphor depends on two factors. It is the more powerful and effective the greater the number of allusive ties discovered and the greater the speed or suddenness with which the discoveries are made. A metaphor that packs all of its allusions into one or a few words should be more effective than a metaphor on which the same allusions are scattered throughout a long chain of words or sentences. The number of allusive ties in some sense reflects how close the metaphor approaches the truth—how near it is to being on target. Perhaps the closer it is, the more compelling the urge to correct the error—like the pull of a magnet. Don R. Swanson is professor and dean of the graduate library school at the University of Chicago. (shrink)

In this article, I argue that, in showing inconsistency of beliefs, Socratic elenchus is showing incompatibility of the desires those beliefs express. This thesis explains Socrates’ claim that, in refuting Callicles, he is also restraining his desires. The beliefs in question are about the best kind of life to lead; such beliefs express the second order desire to lead a life in which certain sorts of first order desires are satisfied. Socrates’ elenchus shows that Callicles is caught between two incompatible (...) second order desires: a desire to lead of life of enormous pleasure and a desire to lead a life in which his love of honor is satisfied. Socrates does not succeed with Callicles because the way out of this dilemma depends on a type of desire not found in the moral psychology of the Gorgias, i.e., a desire whose satisfaction is pleasure unmixed with pain, described in Republic 583c-585e and Philebus 50e-52b. (shrink)

What is the contrary of pleasure? “Pain” is one common answer. This paper argues that pleasure instead has two natural contraries: unpleasure and hedonic indifference. This view is defended by drawing attention to two often-neglected concepts: the formal relation of polar opposition and the psychological state of hedonic indifference. The existence of mixed feelings, it is argued, does not threaten the contrariety of pleasure and unpleasure.

A lot of qualitatively very different sensations can be pleasant or unpleasant. The Felt-Quality Views that conceive of sensory affect as having an introspectively available common phenomenology or qualitative character face the “heterogeneity problem” of specifying what that qualitative common phenomenology is. In contrast, according to the Attitudinal Views, what is common to all pleasant or unpleasant sensations is that they are all “wanted” or “unwanted” in a certain sort of way. The commonality is explained not on the basis of (...) phenomenology but by a common mental, usually some sort of conative, attitude toward the sensation. Here I criticize both views and offer an alternative framework that combines what is right in both while avoiding their unintuitive commitments. The result is the reductive (psychofunctionalist) adverbial sensory modification view of pleasure and displeasure. (shrink)

Linda Zagzebski recently put forward a new theory, moral exemplarism, that is meant to provide an alternative to theories like consequentialism and deontology, and which proposes to define key moral terms by direct reference to exemplars. The theory’s basic structure is straightforward. A virtuous person is defined as a person like that, where that points to individuals like Leopold Socha, Confucius, Jesus Christ, and so on. A key component of this theory is the function played by the emotions, specifically the (...) emotion of admiration, which helps us identify moral exemplars, inspires our emulation of them, and grounds moral motivation. In other words, admiration tracks persons like that. The aim of this article is to show that unless moral exemplarism recognises and incorporates an aesthetic dimension to morality, as did, for instance, eighteenth-century sentimentalists by recognising the categories of moral beauty and ugliness, the theory suffers important theoretical difficulties, whilst failing to yield some of the theoretical merits that it boasts. To this end, I will cast doubt on the prominent role accorded to the emotion of admiration for morality, arguing that it has to either be qualified as a specific kind of admiration––namely that which takes the beautiful as its object––or be replaced altogether with the affective response to the beautiful, a mark of which is pleasure or delight in the contemplation of an object. In short, an aesthetics of character is necessary in order to properly theorise the affective and motivational components of morality under an exemplarist framework. (shrink)

Eighteenth-century authors did not reduce the proper objects for taste or as we now say aesthetic judgment to a single and simple property of beauty; on the contrary, over the course of the century an extensive list of distinguishable aesthetic properties or sources of the pleasures of the imagination was developed. The cases of Hutcheson and Hume illustrate the complexity of the sources of aesthetic pleasure that was already present in the concept of beauty even when that concept was (...) featured as if it were the sole or primary object of taste. Other writers, notably Burke, recognized the sublime as separate source of pleasure. Yet other writers, notably Gerard, Kames and Beattie, identified the arousal of a wide range of other emotions beyond those in the beautiful and the sublime as sources of aesthetic pleasure. Alison and Payne Knight developed a reductionism premised on the psychology of associationism. In conclusion it is asked whether there is anything that unifies the long list of aesthetic categories recognized during the eighteenth century as objects of a single form of experience. (shrink)

The primary aim of this paper is to highlight, at least in short, how the resources of experimental philosophy could be fruitfully applied to the evidential problem of evil. To do this, we will consider two of the most influential and archetypal formulations of the problem: William L. Rowe’s article, “The Problem of Evil and Some Varieties of Atheism” (1979). and Paul Draper’s article, “Pain and Pleasure: An Evidential Problem for Theists” (1989). We will consider the relevance of experimental (...) philosophy to Rowe’s 1979 argument in §1 and to Draper’s 1989 argument in §2. But in addition to exploring how the resources of experimental philosophy might apply to the problem of evil, it is also worth exploring what broader empirical factors might contribute to people having the intuitions that have—from someone’s affective state to someone’s need for closure. In §3, we want to very briefly elucidate a few areas where the psychology of philosophy might be productively explored in future empirical research. (shrink)

The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book's first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion (...) of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics. (shrink)