Music is a natural human expression present in all cultures, but the functions it serves are still debated. Previous research indicates that rhythm, an essential feature of music, can enhance coordination of movement and increase social bonding. However, the prolonged effects of rhythm have not yet been investigated. In this study, pairs of participants were exposed to one of three kinds of auditory stimuli (rhythmic, arrhythmic, or white‐noise) and subsequently engaged in five trials of a joint‐action task demanding interpersonal coordination. (...) We show that when compared with the other two stimuli, exposure to the rhythmic beat reduced the practice effect in task performance. Analysis of the behavioral data suggests that this reduction results from more temporally coupled motor movements over successive trials and that shared exposure to rhythm facilitates interpersonal motor coupling, which in this context serves to impede the attainment of necessary dynamic coordination. We propose that rhythm has the potential to enhance interpersonal motor coupling, which might serve as a mechanism behind its facilitation of positive social attitudes. (shrink)

on The Philosophy of Horror by Noel Carroll.

In lieu of an abstract, here is a brief excerpt of the content:163 HUME'S THEORY OF MOTIVATION In this paper I shall defend a Humean theory of motivation. But first I should like to examine some of the standard criticisms of this theory and some alternative views that are currently in favour. Both in the Treatise and the Enguiry Hume maintains that reason alone never motivates action but always requires the cooperation of some separate, and separately identifiable desire-factor in order (...) to bring about action. What are Hume's grounds for this view? In the Treatise. Hume writes: 'Tis obvious, that when we have the prospect of pain or pleasure from any object, we feel a consequent emotion of aversion or propensity, and are carry 'd to avoid or embrace what will give us this uneasiness or satisfaction.... 'Tis from the prospect of pleasure or pain that the aversion or propensity arises towards any object.... This passage suggests that the way we (and Hume) know about the presence of the separate desire factor which he claims is always needed to motivate our every purposive action is by being directly aware of some desire-feeling, by introspection, each and every time we act. There is however a familiar objection to this argument: no doubt we sometimes are aware of a feeling of desire when we act, e.g., in cases where we are motivated by strong emotions. But much of the time when we act calmly or casually, after having deliberated 'in a cool hour', or when performing routine and trivial acts, we are not directly aware of any desire-feeling at the time of action. 164 Hume is not unaware of this objection -- in reply to it he invokes his notorious doctrine of the calm passions. He writes: 'Tis natural for one, that does not examine objects with a strict philosophic eye, to imagine, that those actions of the mind are entirely the same, which produce not a different sensation, and are not immediately distinguishable to the feeling and perception. Reason, for instance, exerts itself without producing any sensible emotion; and except in the more sublime disquisitions of philosophy, or in the frivolous subtilities of the schools, scarce ever conveys any pleasure or uneasiness. Hence it proceeds, that every action of the mind, which operates with the same calmness and tranquillity, is confounded with reason by all those, who judge of things from the first view and appearance. Now 'tis certain, there are certain calm desires and tendencies, which, tho' they be real passions, produce little emotion in the mind, and are more known by their effects than by the immediate feeling or sensation. These desires are of two kinds; either certain instincts originally implanted in our natures, such as benevolence and resentment, the love of life, and kindness to children; or the general appetite to good, and aversion to evil, consider 'd merely as such. When any of these passions are calm, and cause no disorder in the soul, they are very readily taken for the determination of reason, and are suppos'd to proceed from the same faculty, with that, which judges of truth and falshood. Their nature and principles have been suppos'd the same, because their sensations are not evidently different. (T 417) The most obvious application of this argument would be to cases of cool, seemingly passionless 165 deliberation: e.g., in the course of planning the family budget I set aside funds for the children's education. A cursory inspection (or recollection) of the contents of my conscious mind at the time of acting would reveal to me some purely rational considerations that I had in mind at the time. I had some thoughts at the time whose contents are (roughly) expressible in such words as "If I don't put aside so much per month over so many years we will never be able to see them all through university." But cursory introspection or recollection would not detect any separately identifiable desire-factor present to my conscious mind at the time. Considered philosophical examination, Hume assures us, will reveal one, a 'calm' one -- in this case calm 'kindness to children'. Less obviously, the calm-passions argument, most naturally applicable to cases of deliberation... (shrink)

Psychopathy refers to a range of complex behaviors and personality traits, including callousness and antisocial behavior, typically studied in criminal populations. Recent studies have used self-reports to examine psychopathic traits among noncriminal samples. The goal of the current study was to examine the underlying factor structure of the Self-Report of Psychopathy Scale–Short Form (SRP-SF) across complementary samples and examine the impact of gender on factor structure. We examined the structure of the SRP-SF among 2,554 young adults from three undergraduate samples (...) and a high-risk young adult sample. Using confirmatory factor analysis, a four-correlated factor model and a four-bifactor model showed good fit to the data. Evidence of weak invariance was found for both models across gender. These findings highlight that the SRP-SF is a useful measure of low-level psychopathic traits in noncriminal samples, although the underlying factor structure may not fully translate across men and women. (shrink)

In order to explain Cavell's account of what makes movies so magical, this article will offer a chronological survey of his major writings on film, beginning with the first edition of The World Viewed (1971), where he poses an intriguing theoretical hypothesis about what distinguishes the movies from the other major art forms. The survey will continue by considering the expanded edition of The World Viewed (1979), Pursuits of Happiness: The Hollywood Comedy of Remarriage (1984), and Contesting Tears: The Hollywood (...) Melodrama of the Unknown Woman (1997), and will conclude with an analysis of Cavell's discussion of Emersonian perfectionism in Cities of Words (2005). Throughout, I show how the specific film interpretations he proposes serve as archetypal examples of crucial features of his philosophy. Cavell's general thesis, I take it, is that films can pose particularly satisfying responses to the skepticism we all harbour about our most deeply held values. In a nutshell, the movies are magical because they tell us myths that allow us to see our lives as worth living, helping to restore our faith in the wellsprings of human value: romantic love, individual autonomy, nonconformity, and the search for self-improvement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Moral Sentimentalism Daniel Shaw In chapter 7 ofhis book, Hume, Barry Stroud considers and rejects a number of standard interpretations of Hume's sentimentalism and then argues for his own 'projectionist' interpretation.1 In this paper I shall commentbriefly on all thesereadings, raise objectionsto Stroud's proposal, and, finally, argue in favour of what I shall call the 'power* interpretation ofHume's sentimentalism. Hume maintains that the vice or virtue ofan action (...) is not a matter offact about the action that can be inferred from anything, by causal orinductive reasoningalone, nor afact that canbe discovered by direct perception ofan action, but that, rather, vice and virtue are matters of moral sentiment. Hume writes, Take any action allow'd to be vicious: Wilful murder, for instance. Examine it in all lights, and see ifyou can find that matter of fact, or real existence, which you call vice. In which-ever way you take it, you find only certain passions, motives, voUtions and thoughts. There is no other matter of fact in the case. The vice entirely escapes you, as long as you consider the object. You never can find it, till you turn your reflexion into your own breast, and find a sentiment of disapprobation which arises in you, towards this action. Here is a matter of fact; but 'tis the object of feeling, not of reason. It lies in yourself, not in the object. So that when you pronounce any action or character to be vicious, you mean nothing, but thatfrom the constitution ofyour nature youhave a feeling or sentiment ofblame from the contemplation of it. Vice andvirtue, therefore, maybe compar'd to sounds, colours, heat and cold, which, according to modern philosophy, are not quaUties in objects, but perceptions in the mind.2 Stroud gives the following explanation ofthis passage: [W]hat we believe or 'pronounce' when we regard an action as vicious is different from and more than anything we can discover by perception of the action or by inference from its observed characteristics to other matters of fact about it. Hume grants that there are certain observable characteristics an action can be known to possess such that when we know Volume XIX Number 1 31 DANIEL SHAW that the action has them we inevitably regard it as vicious. (H 178) In a case of wilful murder, for example, we can discover by (roughly) causal reasoning that one man deliberately and unnecessarily destroyed a human life, and caused great suffering, pain and hardship both to the victim and to others. (H 177) And Hume would grant that when we know that the man's action has these characteristics we inevitably regard it as vicious. But, he quiterightlyinsists that that does notimply thatregarding that action as vicious is simply believing that it has those observable [and inferrable] characteristics. He thinks that pronouncing an action to be vicious is something different and that is why he says that the vice entirely escapes you as long as you consider only the object thought to be vicious. (H 178) Why does Hume think that, for example, believing an act of wilful murder to be vicious cannot consist simply and entirely in beUeving it to possess the observable and inferrable characteristics of being a deliberate and unnecessary destruction of human life which caused great suffering, pain, etc.? Surely, one might think, to believe all that ofan action is all there need be for believing the action to be a morally vicious action. But, of course, Hume would argue that since the above beliefis itselfmerely a conclusion ofperception and causal reasoning, which in itself has no motivating power, and since, by contrast, the judgement that the act is morally vicious, being a moral judgement, must in itselfbe capable ofmotivating us to act, that is, to refrain from murder and do all we can to prevent murder, the latter active motivational moraljudgement must involve something over and above the former inert conclusion ofreason. I would agree with Stroud that Hume is right about this. Imagine a case ofa psychopath whose ability to argue and draw valid inferences is in perfectly good working order but whose motivational and emotional derangement is so severe that... (shrink)

Camus’ central thesis in The Myth of Sisyphus is that suicide is not the proper response to, nor is it the solution of, the problem of absurdity. Yet many of his literary protagonists either commit suicide or are self-destructive in other ways. I argue that the protagonists that best live up to the characteristics of the absurd man that Camus outlines in the Myth uniformly either commit suicide or consent to their destruction by behaving in such a manner as to (...) invite death. It is my contention that this raises serious questions abuut the validity of Camus’ arguments that suicide is not the proper response to the recognition that life is absurd. (shrink)

This is a collection of highly engaging and provocative essays by top scholars in the increasingly interrelated fields of Philosophy, Film Studies, and Communication Arts that deal with the epistemology, aesthetics, ethics, metaphysics, and ...

Camus’ central thesis in The Myth of Sisyphus is that suicide is not the proper response to, nor is it the solution of, the problem of absurdity. Yet many of his literary protagonists either commit suicide or are self-destructive in other ways. I argue that the protagonists that best live up to the characteristics of the absurd man that Camus outlines in the Myth uniformly either commit suicide or consent to their destruction by behaving in such a manner as to (...) invite death. It is my contention that this raises serious questions abuut the validity of Camus’ arguments that suicide is not the proper response to the recognition that life is absurd. (shrink)

The book has three main aims. The first is give a philosophical account of the nature of art appreciation, as well as, aesthetic appreciation outside the arts. The second aim is to examine the ways in which the artist's intention is relevant to interpreting, appreciating and evaluating works of art. Finally, to explore some of the ways that certain works of art can provide a unique form of understanding of human behavior or morality and of life.

This study presents a dualist account of the nature of human action, dualist in a modest sense in that it defends the claim that actions involve the physical and the mental and cannot be interpreted in functionalist ways.

In lieu of an abstract, here is a brief excerpt of the content:Hume's Theory ofMotivation — Part 2 Daniel Shaw Introduction and Summary of Part 1 In an earlier paper of the same title1 1 defended a Humean theory of motivation against rationalist views ofB. Stroud and T. Nagel.2 In this paper I shouldlike to relate my theory tomore recent writings, explain its implications for the topic ofmoral motivation and provide further support for the main argument ofmy original paper. To (...) begin with, a summary of my previous discussion: while two critics of Hume's theory, B. Stroud and T. Nagel, disagree about the role ofreason inaction(Stroudaccepts, Nagelrejectsthe Humeanclaim thatreason alone can never produce action) theyboth agree inrejecting Hume's view thatmotivating desire essentially involves feelings which are identifiable by the agent, in his conscious experience, by introspection, as something extra, something over and above any purely rational considerations he may have for taking action. As an alternative to this Humean, experiential view ofmotivating desire, Stroud argues that the concept of motivating desire should be analysednotinterms ofanyintrinsic propertyknowablein experience, butratherin terms ofits function in leading, along withbelief, to action. In Stroud's words: "It might well be that to have a desire for or a propensity towards E is simply to be in a state such that when you come to believe that a certain action will lead to E you are moved to perform that action."3 In a similar spirit4 Nagel claims, contrary to Hume, that there do exist at least some cases (for example, actions motivated by a person's prudential consideration of his own future interests) in which reason alone—that is, the agent's grasp of certain purely rational considerations—is all that motivates action. In the context of these purely rationally motivated actions, Nagel argues, our talk of desire does not refef to anyadditional inclination towards, or preferences for, or sentiment about some goal that we have, but is either just another way of saying that the act is motivated, that is, that we are in some state which disposes us to do whatever we think will lead to a certain result, or else indicates some structural feature ofthe reasoningbehind our behaviour; for example, indicates the fact that in view of purely rational considerations which confront us, it would be irrational of us not to perform the act in question. Volume XVII Number 2 19 DANIEL SHAW Against any such account ofmotivating desire which denies the necessity of the experiential component (that is, of Hume's introspectible sentiment), I argued that all such accounts have a false implication. They all falsely imply that some purely rational consideration, a bare behef, could, all on its own (unaccompanied by any actual or potential pro- or con-attitude), motivate a purposive action. With the help ofa counter-example I argued5 that although it is logically possible for bare beliefs of that kind to produce overt behaviour, such pure rationalist 'action' never in fact happens; and, more importantly, ifwe carefully consider what such 'action' would be like ifit didhappen, we findit would not count as voluntary, purposive action, in the fullest sense. So Hume, I concluded, was right to maintain that motivating desire essentially involves introspectible feehngs. However, the standard interpretation of Hume's view about the relation between desires and feelings yields an indefensible theory of motivated action. On the standard reading, desires simply are feehngs, and the Humean is left with no adequate reply to the obvious objection that, often enough, for example, when acting after calm deliberation, or when performing routine habit-actions, we are not aware of the occurrence of any such feehng immediately prior to or at the time of action. Hume tells us that in all such cases there is—in addition to the operation of reason—a calm passion present—a passion so calm as to be readily confused with and mistaken for the determinations of reason. But on the standard reading of 'calm passions' as very faint or imperceptible feelings, this is a lame argument. As Stroud points out,6 not only is there no independent justification for the claim that in all such cases there always are such faint or imperceptible feehngs,7 but also that claim is inconsistent... (shrink)

Noel Carroll _A Philosophy of Mass Art_ Oxford: Clarendon Press, 1998 ISBN 0198742371 425 pp.

Black Mirror is a cultural phenomenon. It is a creative and sometimes shocking examination of modern society and the improbable consequences of technological progress. The episodes - typically set in an alternative present, or the near future - usually have a dark and satirical twist that provokes intense question both of the self and society at large. These kind of philosophical provocations are at the very heart of the show. Philosophical reflections on Black Mirror draws upon thinkers such as Friedrich (...) Nietzsche, Pierre Hadot and Michel Foucault to uncover how Black Mirror acts as 'philosophical television' questioning human morality and humanity's vulnerability when faced with the inexorable advance of technology. (shrink)

Based upon a study of arguments in the Treatise and the Enquiry, this work proposes a theory of motivation and of the making of moral judgements which defends much of John Hume's sentimentalism. However the author also argues for an equal partnership view of reason and feeling.

If Lecter is merely a psychotic, with no choice but to do what he does, then he is to be pitied, not blamed for his actions. As soon as you start pitying him, thespell is broken and he ceases to be mesmerising. If he can’t control himself, he appears to be much less powerful as a result.

If Lecter is merely a psychotic, with no choice but to do what he does, then he is to be pitied, not blamed for his actions. As soon as you start pitying him, thespell is broken and he ceases to be mesmerising. If he can’t control himself, he appears to be much less powerful as a result.