Daniel Haybron has made an original contribution to philosophical discussions of happiness. He has put forward a theory that identifies happiness with moods and the propensity to experience moods. Haybron’s contribution deserves a critical examination. The first section of my paper is interpretive. I show how Haybron uses the concepts of ‘central affective states’ and ‘mood propensity’ to define happiness. The second and third sections of the paper are critical. They focus on the inclusion of mood propensity in (...) Haybron’s theory. In the second section I argue that his theory fails because there is an example that shows a subject can be happy even when that subject does not have a positive mood propensity. In the third section of the paper, I consider Haybron’s objection that the case in question is ‘object-specific’ and that it is not ‘emotionally-based’. I discuss both of these technical terms in detail. Moreover, I argue that a modified version of the counter example accommodates these technical terms while retaining the persuasiveness of the original example. (shrink)

Relations between individual traits and frequency of causing accidents have been analyzed. On the basis of results from 465 women and 277 men it has been found that the causing of accidents correlates with risk propensity and with risk taking influenced by self-destructive motivation. Persons often causing accidents are also absent minded to a greater degree, and experience depressive moods more frequently than persons rarely involved in accidents.

In The Pursuit of Unhappiness, Daniel Haybron has defended an emotional state theory of happiness, according to which happiness consists in a broadly positive balance of emotions, moods, and mood propensities. In this paper, I argue that Haybron’s theory should be modified in two ways. First, contra Haybron, I argue that sensory pleasures should be regarded as constituents of happiness, alongside emotions and moods. I do this by showing that sensory pleasures are sufficiently similar to emotions for them (...) to be included within the class of happiness-constituting states. Second, I argue that a plausible theory of happiness should not include mood propensities, since their inclusion is either counterintuitive or unnecessary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 351-383 [Access article in PDF] Hume's Pyrrhonian Skepticism and the Belief in Causal Laws Graciela De Pierris Hume endorses in no uncertain terms the normative use of causal reasoning. The most striking example of this commitment is Hume's argument in the Enquiry against the possibility of miracles. The argument sanctions, in particular, the use of scientific reflection on uniform experience issuing (...) in causal laws of nature (E 114): "A miracle is a violation of the laws of nature; and as a firm and unalterable experience has established these laws, the proof against a miracle, from the very nature of the fact, is as entire as any argument from experience can possibly be imagined." 1 These words should give us pause; for how can Hume so confidently say, after his skeptical conclusions concerning our causal beliefs, that "a firm and unalterable experience has established" the laws of nature, and that we can therefore produce "proofs" against miracles? The Treatise gives rise to the same puzzle. In this text, too, Hume confidently prescribes methodical reflection based on causal reasoning. For example, in Book One, Part Three, Section Fifteen, Hume offers eight "Rules by which to judge of causes and effects." These rules are more than descriptions of our natural causal inferences. They are meant to guide us in making better causal inferences; in Hume's words they "ought to regulate" our probable reasoning since (T 149): "by them we learn to distinguish the accidental circumstances from the efficacious causes." 2Moreover, Hume consistently takes Newtonian science as a model for the proper employment of causal inferences in inquiries into matters of fact and, [End Page 351] in particular, as a model to be followed in his own science of human nature. 3 This paradigm of what the science of nature ought to be is understood by Hume as an inductive, experimental inquiry. 4 In the Enquiry, for example, Hume uses the label "sciences" for "politics, natural philosophy, physic, chemistry, &c." and in the preceding discussion argues that these sciences are not a priori but are based on causal reasoning (E 164-165). Thus, there are for Hume inquiries into matters of fact and existence that amount to more than blindly following natural propensities and habit. The sciences and many of our causal inferences in common life involve more than mere belief as a sentiment. They involve, in addition, careful reflection that results in improved causal inferences and thus provides normative standards. Yet, in thus upholding the normative use of causal reasoning in science and in everyday life, Hume appears to contradict his own radical skeptical conclusions concerning our knowledge of causation and induction. I here propose a novel way to resolve this puzzle.To acknowledge the existence of a puzzle, however, amounts to accepting the now controversial view that Hume provides, and takes at face value, a radical skeptical argument concerning our knowledge of causation and induction. 5 Moreover, the attempt to resolve this puzzle involves rejecting the suggestion [End Page 352] that Hume, without awareness or concern, happily holds flatly inconsistent views. 6 It also goes against the more sophisticated suggestion that Hume lightly alternates among different psychological moods, or perhaps different perspectives, which might eventually issue in results that contradict each other but are sufficiently localized so as to prevent serious conflict. Such a view might lead us to conceive Hume's texts as an unstructured and arbitrary patchwork of reflections, driven by different psychological moods or by the embellishments of a radiant literary style. This kind of reading is unacceptable as an interpretative tool, however, as H. J. Paton has acutely noted in his criticism of the patchwork interpretation of Kant's Critique of Pure Reason. 7 For such a reading would place no constraints at all on the task of establishing which parts of Hume's text belong to which moods or perspectives. The suggestion that Hume offers an unstructured patchwork of reflections masks the novel and systematic distinction Hume draws between his radical philosophical... (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)

Mind wandering refers to a state when attention shifts from the task at hand or current situation toward thoughts, feelings, and imaginations. This state is often accompanied by a decline in mood, and patients suffering from major depression exhibit more perseverative MW. Hence, although the directionality of the relationship between mood and MW is still under investigation, it may be useful to explore possible avenues to reduce MW. In an earlier pilot study, we investigated MW during auditory beat (...) stimulation in healthy subjects using thought-probes during a sustained attention to response task. We found evidence for reduced MW during monaural 5 Hz beats compared to silence, sine tones, and binaural 5 Hz beats. Moreover, the data tentatively suggested that this reduction was particularly pronounced in subjects with high levels of MW during silence. In the current study, we therefore asked whether MW can be reduced by monaural theta beats in subjects with high trait-levels of MW, as indicated by an online MW questionnaire. Preselected subjects performed a SART task with thought-probes assessing the propensity to mind wander, meta-awareness, and the temporal orientation of MW. Stimulation conditions comprised monaural theta beats, as well as silence, and sine tones as control conditions. Our main hypothesis stating that the propensity to mind wander during monaural theta beats is reduced compared to both control conditions was only partly confirmed. Indeed, MW was significantly diminished during exposure to the theta beats compared to sine tones. However, reduced MW during theta beats versus silence was only observed in a subgroup using stricter inclusion criteria. Considering possible reasons for this outcome, our data suggest that the preselection procedure was suboptimal and that beat effects are modulated by the individual responses to auditory stimulation in general. (shrink)

The laws of social development are objective in content and, in contrast to the laws of nature, are manifested and function only through the activity of human beings. The development of all spheres of human activity, in turn, cannot be conceived of as independent of the will, consciousness, moods and beliefs, propensities and preferences of human beings, nor as independent of the effectiveness of forms of social organization, etc. The social specificity of laws of social development in turn defines (...) another feature of these laws, namely, their statistical nature. History and social practice persuasively demonstrate that the laws of social development in turn defines another feature of these laws, namely, their statistical nature. History and social practice persuasively demonstrate that the laws of social development, functioning either in all socioeconomic formations or in only some of them , or laws operating within only one of these formations are of a statistical nature. Even when the conditions of life of societies within a particular socioeconomic formation are the same, the results of the operation of any law of social development are never absolutely identical. This is graphically evident in an analysis of the operation of the law of surplus value, the laws of class struggle, or the law of social revolution, especially its operation under the conditions of the contemporary world revolutionary process. We need only point out the variety of nuances in the ultimate results of the operation of the law of social revolution after the Second World War, when socialist countries and countries with a socialist orientation emerged. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 46-58 [Access article in PDF] In Defense of Trimming Eugene Goodheart I In The Education of Henry Adams, Adams disparages a class of English politicians as "trimmers." They are "the political economist, the anti-slavery and doctrinaire class, the followers of Tocqueville, and of John Stuart Mill. As a class, they were timid--and with good reason--and timidity, which is high wisdom in philosophy, sicklies the (...) whole cast of thought in action." 1 Timidity in action, but high wisdom in philosophy. Adams's ambivalent characterization is, relatively speaking, kind to the trimmer, for in the prevailing view he has a reputation for cowardice, lack of integrity, unprincipled behavior. Dante did not know the word, but the "neutrals" (in Sinclair's translation) whom the poet consigns to limbo have been retroactively called trimmers. Virgil regards them as beneath contempt: "Let us not talk of them; but look thou and pass." Sinclair explains why: "These innumerable seekers of safety first, and last, who take no risk either of suffering in a good cause or of scandal in a bad one, are here manifestly, nakedly, that which they were in life, the waste and rubbish of the universe, of no account to the world, unfit for Heaven and barely admitted to Hell. They have no need to die, for they 'never were alive'. They follow still, as they have always done, a meaningless, shifting banner that never stands for anything because it never stands at all, a cause which is no cause but the changing magnet of the day. Their pains are paltry and their tears and blood mere food for worms." 2The dictionary defines trimming as the "modif[ication] of one's attitude in order to stand well with opposite parties; also to accommodate oneself to the mood of the times," and gives 1685 as the date of provenance. By the late nineteenth century trimming becomes opportunism: [End Page 46] "to modify according to expediency." So it was something of a surprise to find a defense of trimming in Macaulay's famous History of England in his eulogy of one of Charles the Second's ministers, Viscount Halifax (Charles Savile). "Halifax," we learn, "was a trimmer on principle. He was also a trimmer by the constitution of his head and his heart." Macaulay sums up Halifax's defense in his essay "The Character of a Trimmer." "Everything good, he said, trims between extremes. The temperate zone trims between the climate in which men are roasted and the climate in which they are frozen. The English Church trims between the Anabaptist madness and the Papist lethargy. The English constitution trims between Turkish despotism and Polish anarchy. Virtue is nothing but a just temper between propensities any one of which, if indulged to excess, becomes vice." Behind trimming lies Aristotle's golden mean.What of the character of the trimmer? Macaulay provides an admirable and admiring portrait of Halifax. "His understanding was keen, sceptical, inexhaustibly fertile in distinctions and objections; his taste refined, his sense of the ludicrous exquisite; his temper placid and forgiving, but fastidious, and by no means prone either to malevolence or to enthusiastic admiration." Charming and agreeable, but where is the integrity or courage, attributes that we associate with character? He had nothing in common with those who fly from extreme to extreme, and regard the party which they have deserted with an animosity far exceeding that of consistent enemies. His place was on the debatable ground between the hostile divisions of the community.... The party to which he at any moment belonged was the party which, at that moment, he liked least, because it was the party of which at that moment he had the nearest view. He was therefore always severe upon his violent associates, and was always in friendly relations with his moderate opponents. Every faction in the day of its insolent and vindictive triumph incurred his censure; and every faction, when vanquished and persecuted, found in him a protector. To his lasting honor it must be mentioned that he attempted to save those victims whose fate... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Praise of Blandness: Proceeding from Chinese Thought and AestheticsJoseph GrangeIn Praise of Blandness: Proceeding from Chinese Thought and Aesthetics. By François Jullien. Translated by Paul M. Varsano. New York: Zone Books, 2004. Pp. 1,969.A book praising "blandness"—which is the translator's English word for the French fadeur, which is the author's translation of the Chinese dan!—and a book that is at once fascinating and "repellent" (to use the (...) translator's description of his tortuous search for an equivalent of fadeur and dan), In Praise of Blandness: Proceeding from Chinese Thought and Aesthetics by François Jullien is a "globalizing" philosophical essay bent on stopping readers in their tracks at every twist and turn of the text. Is it worth the trouble? I shall venture a response in this review.More than once while reading this book, I was reminded of Plato's Sophist, where the difficulty in locating the sophist is described in such intricate detail. First he is here, but then he is over there; on the other hand, he could be hiding near by— but wait, maybe he has disappeared. So it is also with blandness. And perhaps it should be so, because once you have located the bland, it ceases to be bland and turns into something else. To take a fix on blandness Jullien throws it against a number of traits, qualities, experiences, and events: strength, music, sounds, signs, landscapes, painting, tastes, literature, ideology, margins and centers, and, finally, the fact that "transcendence is natural." At the same time, the author weaves these contrasts and comparisons through the history of Chinese culture, especially in the evolution of its painting and poetry. [End Page 484]Foremost among the qualities associated with blandness is inner detachment. What come immediately to mind are Daoism, Chan Buddhism, and aspects of Confucian teaching. Jullien has already given us a splendid treatise in his The Propensities of Things, and in some ways this volume rings many changes on that study of Chinese culture. But there is more to blandness than causal efficacy. It also suggests openness and a mood of friendliness toward the other, the different, and all things strange. Further, blandness is similar to harmony in the sense that it does not insist on its own presence. Rather, it constantly blends together opposites through its own power.It is power and its expression that is at the heart of the author's project. He attempts over and over again to show how the seemingly weak is actually the strong, that the far away is really close to hand, that emptiness is charged with spontaneous creative energy. Thus, what lingers is not yet finished expressing itself. And the translator tells us that a gustatory sense is the primary base of fadeur, dan, and blandness. The body is the region within which the bland can have its most powerful effect. Think of Chinese medicine, where "the web that has no weaver" (the title of Ted Kaptchuk's brilliant book) is the object of the physician's art. Or consider the power of water to yield and then conquer all. Or remember the Mahāyāna Buddhist's invocation of śūnyatā as the source of healing and renewal. Or recall the many times that Confucius advises silence rather than words. All these moments are akin to what Jullien calls "blandness."One way to grasp the insight into Chinese culture that Jullien is struggling with is to express it by way of Neoplatonism and Spinoza. What is often forgotten in expositions of these formidable philosophies is the way in which they use a novel doctrine of causality to bind together different realms of beings. For Plotinus and Spinoza the cause never really leaves the effect but remains there, hidden but effective. It is through this lingering presence that transcendence and immanence, body and soul, and God and the World remain conjoined. The image of the ladder so frequently found in these texts must be understood to run in both directions—up and down. So also, blandness is a dao that opens up experience to further depths and heights.Jullien's major concern is aesthetics... (shrink)

How are non-declarative sentences understood? How do they differ semantically from their declarative counterparts? Answers to these questions once made direct appeal to the notion of illocutionary force. When they proved unsatisfactory, the fault was diagnosed as a failure to distinguish properly between mood and force. For some years now, efforts have been under way to develop a satisfactory account of the semantics of mood. In this paper, we consider the current achievements and future prospects of the (...) class='Hi'>mood-based semantic programme. (shrink)

The philosophical debate around the nature of moods has mostly focused on their apparent undirectedness: unlike mental states such as perceptual experiences, thoughts, and emotions, moods do not seem to be directed at any specific object, and indeed they do not seem to be directed at anything at all. In this paper, I want to draw attention to a different feature of moods, one that is as important and in need of explanation as their apparent undirectedness, but which has been (...) overlooked by most participants in the debate: the fact that moods involve a particularly marked salience of the subjective aspect of experience. I argue that any adequate theory of moods should account for this fact. I call this the “subjective salience desideratum.” In the bulk of the paper, I articulate and motivate the desideratum, show that extant theories of moods do not satisfy it, and offer a preliminary overview of possible (yet unexplored) theories that have the subjective salience desideratum at their core. (shrink)

Quantum mechanics and probability theory share one peculiarity. Both have well established mathematical formalisms, yet both are subject to controversy about the meaning and interpretation of their basic concepts. Since probability plays a fundamental role in QM, the conceptual problems of one theory can affect the other. We first classify the interpretations of probability into three major classes: inferential probability, ensemble probability, and propensity. Class is the basis of inductive logic; deals with the frequencies of events in repeatable experiments; describes (...) a form of causality that is weaker than determinism. An important, but neglected, paper by P. Humphreys demonstrated that propensity must differ mathematically, as well as conceptually, from probability, but he did not develop a theory of propensity. Such a theory is developed in this paper. Propensity theory shares many, but not all, of the axioms of probability theory. As a consequence, propensity supports the Law of Large Numbers from probability theory, but does not support Bayes theorem. Although there are particular problems within QM to which any of the classes of probability may be applied, it is argued that the intrinsic quantum probabilities are most naturally interpreted as quantum propensities. This does not alter the familiar statistical interpretation of QM. But the interpretation of quantum states as representing knowledge is untenable. Examples show that a density matrix fails to represent knowledge. (shrink)

Being in a mood—such as an anxious, irritable, depressed, tranquil, or cheerful mood—tends to alter the way we react emotionally to the particular objects we encounter. But how, exactly, do moods alter the way we experience particular objects? Perceptualism, a popular approach to understanding affective experiences, holds that moods function like "colored lenses," altering the way we perceive the evaluative properties of the objects we encounter. In this essay, I offer a phenomenological analysis of the experience of being (...) in a mood that illustrates the limitations of the colored lens metaphor and demonstrates the basic inadequacy of the perceptualist account of moods. I argue that when we are in a mood, it is common to experience a kind of "emotional disconnection" in which we perceive evaluative properties that would normally elicit strong emotional reactions from us, but nonetheless we find that, in our present mood, we remain emotionally numb to these perceptions. Such experiences of "seeing but not feeling" are difficult to understand from within the perceptualist paradigm. Building on the work of Martin Heidegger, I sketch an alternative, phenomenological analysis of moods that can better account for experiences of emotional disconnection. On this alternative account, being in a mood does not merely alter the content of our perceptions but, rather, alters the way we interpret the overall significance of what we perceive, relative to a certain situational context. (shrink)

The paper provides a new critical perspective on the propensity interpretation of fitness, by investigating its relationship to the propensity interpretation of probability. Two main conclusions are drawn. First, the claim that fitness is a propensity cannot be understood properly: fitness is not a propensity in the sense prescribed by the propensity interpretation of probability. Second, this interpretation of probability is inessential for explanations proposed by the PIF in evolutionary biology. Consequently, interpreting the probabilistic dimension of fitness in terms of (...) propensities is neither a strong motivation in favor of this interpretation, nor a possible target for substantial criticism. (shrink)

The concept of "fitness" is a notion of central importance to evolutionary theory. Yet the interpretation of this concept and its role in explanations of evolutionary phenomena have remained obscure. We provide a propensity interpretation of fitness, which we argue captures the intended reference of this term as it is used by evolutionary theorists. Using the propensity interpretation of fitness, we provide a Hempelian reconstruction of explanations of evolutionary phenomena, and we show why charges of circularity which have been levelled (...) against explanations in evolutionary theory are mistaken. Finally, we provide a definition of natural selection which follows from the propensity interpretation of fitness, and which handles all the types of selection discussed by biologists, thus improving on extant definitions. (shrink)

Single-case and long-run propensity theories are among the main objective interpretations of probability. There have been various objections to these theories, e.g. that it is difficult to explain why propensities should satisfy the probability axioms and, worse, that propensities are at odds with these axioms, that the explication of propensities is circular and accordingly not informative, and that single-case propensities are metaphysical and accordingly non-scientific. We consider various propensity theories of probability and their prospects in light (...) of these objections. We argue that while propensity theories face challenges, these challenges do not undermine their validity as prospective interpretations of probability in science. (shrink)

If chances are propensities, what reason do we have to expect them to be probabilities? I will offer a new answer to this question. It comes in two parts. First, I will defend an accuracy-centred account of what it is for a causal system to have precise propensities in the first place. Second, I will prove that, given some pretty weak assumptions about the nature of comparative causal dispositions, and some fairly standard assumptions about reasonable measures of inaccuracy, (...) propensities must be probabilities. (shrink)

This paper applies philosophical tools from the causalists/statisticalists debate to the evo-devo idea of variational tendencies as propensities biasing phenotypic change. It contends that variational properties are present in a statistical sense in some population dynamics models, particularly quantitative genetics ones, providing ultimate variational explanations. It further argues that these properties, contrary to some recent views, cannot be subsumed under natural selection. Finally, it advocates for a causalist interpretation of these explanations, where variational statistical properties indirectly refer to evo-devo’s (...) variational propensities. (shrink)

In Spanish (and other Romance languages) certain predicates select the subjunctive mood in the embedded clause, while others select the indicative mood. In this paper, I present a new analysis for the predicates that select the subjunctive mood in Spanish that is based on a semantics of comparison. The main generalization proposed here is the following: in Spanish, a predicate selects the subjunctive mood in its embedded proposition if the proposition is compared to its contextual alternatives (...) on a scale introduced by the predicate. In this proposal, predicates that select the subjunctive mood are thus analyzed as gradable predicates. Furthermore, the subjunctive mood morpheme is claimed to make a semantic contribution, namely to evaluate the contextual alternatives that are compared by the predicate. In comparing this proposal to other approaches, I show that it can more straightforwardly account for a number of properties of these predicates (entailment relations, practical inferences, and contexts with more than two alternatives). New empirical evidence for two crucial properties of the predicates that select the subjunctive mood is provided: these predicates are focus sensitive and they are gradable, two properties that follow directly from the proposal developed here. In the vast literature on mood, the link between the appearance of the subjunctive mood and these important properties has never been made before. (shrink)

Popper’s introduction of ‘‘propensity’’ was intended to provide a solid conceptual foundation for objective single-case probabilities. By considering the partly opposed contributions of Humphreys and Miller and Salmon, it is argued that when properly understood, propensities can in fact be understood as objective single-case causal probabilities of transitions between concrete events. The chief claim is that propensities are well-explicated by describing how they fit into the existing formal theory of branching space-times, which is simultaneously indeterministic and causal. Several (...) problematic examples, some commonsense and some quantum-mechanical, are used to make clear the advantages of invoking branching space-times theory in coming to understand propensities. (shrink)

The two main subjectivist accounts of wellbeing, hedonism and desire-satisfactionism, focus on pleasure and desire (respectively) as the subjective states relevant to evaluating the goodness of a life. In this paper, I argue that another type of subjective state, mood, is much more central to wellbeing. After a general characterization of some central features of mood (§1), I argue that the folk concept of happiness construes it in terms of preponderance of good mood (§2). I then leverage (...) this connection between mood and happiness to argue that having certain mood patterns in one’s life is sufficient for having a good life (§3), and explore their potential necessity for a good life (§4). I close with discussion of the role that mood patterns might play within the three leading philosophical theories of wellbeing: hedonism (§5), desire-satisfactionism (§6), and objective-list theory (§7). (shrink)

The core feature that distinguishes moods from emotions is that moods, in contrast to emotions, are diffuse and global. This article outlines a dispositional theory of moods (DTM) that accounts for this and other features of mood experience. DTM holds that moods are temporary dispositions to have or to generate particular kinds of emotion-relevant appraisals. Furthermore, DTM assumes that the cognitions and appraisals one is disposed to have in a given mood partly constitute the experience of mood. (...) This article outlines a number of implications of DTM (e.g., regarding the noncognitive causation and rationality of moods) and summarizes empirical results supporting the theory. (shrink)

The hypothesis that some moods are emotions has been rejected in philosophy, and is an unpopular alternative in psychology. This is because there is wide agreement that moods have a number of features distinguishing them from emotions. These include: lack of an intentional object and the related notion of lack of a goal; being of long duration; having pervasive or widespread effects; and having causes rather than reasons. Leading theories of mood have tried to explain these purported features by (...) describing moods as global changes in the mind affecting such things as predispositions to holding certain beliefs or the thresholds for triggering a range of relevant behaviors. I show instead that our best understanding of emotions can show that basic emotions either have or can appear to have each of these features. Thus, a plausible hypothesis is that certain moods are emotions. This theory is more parsimonious than the global change theories, and for this reason is to be preferred as an explanation of some moods. (shrink)

This paper aims to clarify and reformulate the conceptual relationship between emotions and moods in light of recent researches in philosophy and cognitive psychology. I argue that the mechanism of mood may produces cognitive biases that affect the appraisals involved in emotions, whereas the mechanism of emotion may produce physiological and behavioral responses that affect the energy level being monitored by mood. These two distinct mechanisms can affect each other repeatedly and continuously, which form the mood-emotion loop. (...) I argue that this model may help explain the interaction between emotions and mood, and may shed light on the understanding of the regulation of emotion and mood disorders. (shrink)

In this survey paper, I start from two classical theses of speech act theory: that speech act content is uniformly propositional and that sentence mood encodes illocutionary force. These theses have been questioned in recent work, both in philosophy and linguistics. The force/content distinction itself – a cornerstone of 20‐century philosophy of language – has come to be rejected by some theorists, unmoved by the famous ‘Frege–Geach’ argument. The paper reviews some of these debates.

In this paper, I articulate Heidegger’s notion of Befindlichkeit and show that his phenomenological account of affective existence can be understood in terms of contemporary work on emotions. By examining Heidegger’s account alongside contemporary accounts of emotions, I not only demonstrate the ways in which key aspects of the former are present in the latter; I also explicate in detail the ways in which our understanding of Befindlichkeit and its relationship to moods and emotions can benefit from an empirically-informed study (...) of emotions. (shrink)

Moods and emotions are sometimes thought to be counterexamples to intentionalism, the view that a mental state's phenomenal features are exhausted by its representational features. The problem is that moods and emotions are accompanied by phenomenal experiences that do not seem to be adequately accounted for by any of their plausibly represented contents. This paper develops and defends an intentionalist view of the phenomenal character of moods and emotions on which emotions and some moods represent intentional objects as having sui (...) generis affective properties, which happen to be uninstantiated, and at least some moods represent affective properties not bound to any objects. (shrink)

This book presents the essential background for understanding semantic theories of both verbal mood and sentence mood. Paul Portner evaluates and compares the theories, draws connections between seemingly disparate approaches, and highlights the most significant insights in the literature to provide a clearer understanding of how mood works.

Probability theory is important because of its relevance for decision making, which also means: its relevance for the single case. The propensity theory of objective probability, which addresses the single case, is subject to two problems: Humphreys’ problem of inverse probabilities and the problem of the reference class. The paper solves both problems by restating the propensity theory using (an objectivist version of) Pearl’s approach to causality and probability, and by applying a decision-theoretic perspective. Contrary to a widely held view, (...) decision making on the basis of given propensities can proceed without a subjective-probability supplement to propensities. (shrink)

The view that moods are dispositions has recently fallen into disrepute. In this paper we want to revitalise it by providing a new argument for it and by disarming an important objection against it. A shared assumption of our competitors (intentionalists about moods) is that moods are “diffuse”. First, we will provide reasons for thinking that existing intentionalist views do not in fact capture this distinctive feature of moods that distinguishes them from emotions. Second, we offer a dispositionalist alternative that (...) we think does better. Finally, we disarm the objection that is responsible for dispositionalism’s bad press. (shrink)

Capacity of conscious agents to perform genuine choices among future alternatives is a prerequisite for moral responsibility. Determinism that pervades classical physics, however, forbids free will, undermines the foundations of ethics, and precludes meaningful quantification of personal biases. To resolve that impasse, we utilize the characteristic indeterminism of quantum physics and derive a quantitative measure for the amount of free will manifested by the brain cortical network. The interaction between the central nervous system and the surrounding environment is shown to (...) perform a quantum measurement upon the neural constituents, which actualize a single measurement outcome selected from the resulting quantum probability distribution. Inherent biases in the quantum propensities for alternative physical outcomes provide varying amounts of free will, which can be quantified with the expected information gain from learning the actual course of action chosen by the nervous system. For example, neuronal electric spikes evoke deterministic synaptic vesicle release in the synapses of sensory or somatomotor pathways, with no free will manifested. In cortical synapses, however, vesicle release is triggered indeterministically with probability of 0.35 per spike. This grants the brain cortex, with its over 100 trillion synapses, an amount of free will exceeding 96 terabytes per second. Although reliable deterministic transmission of sensory or somatomotor information ensures robust adaptation of animals to their physical environment, unpredictability of behavioral responses initiated by decisions made by the brain cortex is evolutionary advantageous for avoiding predators. Thus, free will may have a survival value and could be optimized through natural selection. (shrink)

Natural languages exhibit a great variety of grammatical paradigms. For instance, in English verbs are grammatically marked for tense, whereas in the tenseless Eskimo-Aleut language Kalaallisut they are marked for illocutionary mood. Although time is a universal dimension of the human experience and speaking is part of that experience, some languages encode reference to time without any grammatical tense morphology, or reference to speech acts without any illocutionary mood morphology. Nevertheless, different grammatical systems are semantically parallel in certain (...) respects. Specifically, I propose that English tenses form a temporal centering system, which monitors and updates topic times, whereas Kalaallisut moods form a modal centering system, which monitors and updates modal discourse referents. To formalize these centering parallels I define a dynamic logic that represents not only changing information but also changing focus of attention in discourse (Update with Centering, formalizing Grosz et al 1995). Different languages can be translated into this typed logic by directly compositional universal rules of Combinatory Categorial Grammar (CCG) The resulting centering theory of tense and illocutionary mood draws semantic parallels across different grammatical systems. The centering generalizations span the extremes of the typological spectrum, so they are likely to be universal. In addition, the theory accounts for the translation equivalence of tense and illocutionary mood in a given utterance context. Following Stalnaker (1978) I assume that the very act of speaking up has a ‘commonplace effect’ on the context. It focuses attention on the speech act and thereby introduces default modal and temporal topics. These universal defaults complement language-specific grammars, e.g. English tenses and Kalaallisut moods. In a given utterance context the universal discourse-initial defaults plus language-specific grammatical marking may add up to the same truth conditions.. (shrink)

Under the general heading of what we might loosely call emotional states, a familiar distinction can be drawn between emotions (strictly so-called) and moods. In order to judge under which of these headings a subject’s emotional episode falls, we advance a question of the form: What is the subject’s emotion of or about? In some cases (for example fear, sadness, and anger) the provision of an answer is straightforward: the subject is afraid of the loose tiger, or sad about England’s (...) poor performance in the World Cup, or angry with her errant child. Although the ways we find natural to talk in such situations can alter (afraid of, sad about, angry with, and so on), in each case the emotion has what Ronald de Sousa, following Wittgenstein, calls a target—“an actual particular to which that emotion relates.” (de Sousa, 1987, p.116). (shrink)

This paper reviews four attempts throughout the history of quantum mechanics to explicitly employ dispositional notions in order to solve the quantum paradoxes, namely: Margenau's latencies, Heisenberg's potentialities, Maxwell's propensitons, and the recent selective propensities interpretation of quantum mechanics. Difficulties and challenges are raised for all of them, and it is concluded that the selective propensities approach nicely encompasses the virtues of its predecessors. Finally, some strategies are discussed for reading similar dispositional notions into two other well-known interpretations (...) of quantum mechanics, namely the GRW interpretation and Bohmian mechanics. (shrink)

Do moods have intentional objects? If so, what kinds of intentional objects might they have? Some theorists hold that moods are objectless affective states, not ‘about’ anything. Others argue that moods are directed toward a maximally general object like ‘the world’, and so they are about everything, in some sense. In this article, I advance a new theoretical account of the intentional object of moods. According to what I call the ‘present-situation view’, moods are directed toward, or about, the present (...) situation. In other words, a mood is essentially an interpretation of one’s current situational context. As such, our moods change over time in a way that tracks our changing sense of how things are going, here and now. This article aims to make the case that the present-situation view, so understood, offers unique theoretical resources to describe and explain how we experience moods and how they change over time, while also suggesting a helpful way to think about the functional role moods play in our broader cognitive architecture, and pointing toward promising directions for future research into the ways that moods can be experienced, managed, and shared. (shrink)

El artículo analiza la propensión a aprender en los niños y niñas relacionándola con los procesos educativos y escolares, para lo cual se establece una clara distinción entre educación, entendida como un proceso de creación de relaciones posibles, y la escolarización, concebida como un proceso de repetición de relaciones pre-establecidas.

Moods are sometimes claimed to constitute an exception to the rule that mental phenomena are intentional (in the sense of representing something). In reaction, some philosophers have argued that moods are in fact intentional, but exhibit a special and unusual kind of intentionality: they represent the world as a whole, or everything indiscriminately, rather than some more specific object(s). In this paper, I present a problem for extant versions of this idea, then propose a revision that solves the problem but (...) also entrains an important change in our understanding of the nature of moods – and indeed of the nature of mind. What emerges is an intentionalist account that emphasizes the role of attitude rather than content in determining the character of moods. (shrink)

Popper's idea of propensities constituting the physical background of predictable probabilities is reviewed and developed by introducing a suitable formalism compatible with standard probability calculus and with its frequency interpretation. Quantum statistical ensembles described as pure cases (“eigenstates”) are shown to be necessarily not homogeneous if propensities are actually at work in nature. An extension of the theory to EPR experiments with local propensities leads to a new and more general proof of Bell's theorem. No joint probabilities (...) for incompatible observables need to be introduced. (shrink)