Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.

Jesse Prinz argues that recent work in philosophy, neuroscience, and anthropology supports two radical hypotheses about the nature of morality: moral values are based on emotional responses, and these emotional responses are inculcated by culture, not hard-wired through natural selection. In the first half of the book, Jesse Prinz defends the hypothesis that morality has an emotional foundation. Evidence from brain imaging, social psychology, and psychopathology suggest that, when we judge something to be right or wrong, we are merely expressing (...) our emotions. Prinz argues that these emotions do not track objective features of reality; rather, the rightness and wrongness of an act consists in the fact that people are disposed to have certain emotions towards it. In the second half of the book, he turns to a defense of moral relativism. Moral facts depend on emotional responses, and emotional responses vary from culture to culture. Prinz surveys the anthropological record to establish moral variation, and he draws on cultural history to show how attitudes toward practices such as cannibalism and marriage change over time. He also criticizes evidence from animal behavior and child development that has been taken to support the claim that moral attitudes are hard-wired by natural selection. Prinz concludes that there is no single true morality, but he also argues that some moral values are better than others; moral progress is possible. Throughout the book, Prinz relates his views to contemporary and historical work in philosophical ethics. His views echo themes in the writings of David Hume and Friedrich Nietzsche, but Prinz supports, extends, and revises these classic theories using the resources of cutting-edge cognitive science. The Emotional Construction of Morals will stimulate and challenge anyone who is curious about the nature and origin of moral values. (shrink)

The Conscious Brain brings neuroscientific evidence to bear on enduring philosophical questions. Major philosophical and scientific theories of consciousness are surveyed, challenged, and extended.

In Furnishing the Mind, Jesse Prinz attempts to swing the pendulum back toward empiricism.

The Emotional Construction of Morals is a book about moral judgements – the kinds of mental states we might express by sentences such as, ‘It's bad to flash your neighbors’, or ‘You ought not eat your pets’. There are three basic questions that get addressed: what are the psychological states that constitute such judgements? What kinds of properties do such judgements refer to? And, where do these judgements come from? The first question concerns moral psychology, the second metaethics and the (...) third is best construed as belonging to a domain that has been neglected in analytic value theory: the genealogy of morals. These are all separate branches of ethics, but they are interconnected. The thesis of the book is that moral judgements are emotional attitudes that refer to response-dependent properties, and that these responses have been shaped by cultural history. I call the view Constructive Sentimentalism. The first half of the book deals with sentiments, and the second half with construction. The second half also deals with relativism, because I argue that moral values are constructed differently across cultures and across individuals.Thus described, The Emotional Construction of Morals is a conventional contribution to analytic moral philosophy, taking on some of the core questions in that field and defending positions that have a long philosophical pedigree. Indeed, the theory I defend has roots in Hume and Nietzsche, though it departs from both in various ways. What makes the book somewhat unusual is that it seeks to defend traditional theories by appeal to recent work in psychology, neuroscience, anthropology and related fields. It is an exercise in methodological naturalism and committed to the view that we can answer traditional philosophical questions while treating ethics as a social science. Ethics and naturalism are hard to reconcile because ethics is a normative domain, …. (shrink)

Recent work in cognitive science provides overwhelming evidence for a link between emotion and moral judgment. I review?ndings from psychology, cognitive neuroscience, and research on psychopathology and conclude that emotions are not merely correlated with moral judgments but they are also, in some sense, both necessary and suf?cient. I then use these?ndings along with some anthropological observations to support several philosophical theories:?rst, I argue that sentimentalism is true: to judge that something is wrong is to have a sentiment of disapprobation (...) towards it. Second, I argue that moral facts are response-dependent: the bad just is that which cases disapprobation in a community of moralizers. Third, I argue that a form of motivational internalism is true: ordinary moral judgments are intrinsically motivating, and all non-motivating moral judgments are parasitic on these. (shrink)

Empathy can be characterized as a vicarious emotion that one person experiences when reflecting on the emotion of another. So characterized, empathy is sometimes regarded as a precondition on moral judgment. This seems to have been Hume's view. I review various ways in which empathy might be regarded as a precondition and argue against each of them: empathy is not a component, a necessary cause, a reliable epistemic guide, a foundation for justification, or the motivating force behind our moral judgments. (...) In fact, empathy is prone to biases that render it potentially harmful. Another construct—concern—fares somewhat better, but it is also of limited use. I argue that, instead of empathy, moral judgments involve emotions such as anger, disgust, guilt, and admiration. These, not empathy, provide the sentimental foundation for morality. (shrink)

When people are trying to determine whether an entity is capable of having certain kinds of mental states, they can proceed either by thinking about the entity from a *functional* standpoint or by thinking about the entity from a *physical* standpoint. We conducted a series of studies to determine how each of these standpoints impact people’s mental state ascriptions. The results point to a striking asymmetry. It appears that ascriptions of states involving phenomenal consciousness are sensitive to physical factors in (...) a way that ascriptions of other states are not. (shrink)

When Fodor titled his (1983) book the _Modularity of Mind_, he overstated his position. His actual view is that the mind divides into systems some of which are modular and others of which are not. The book would have been more aptly, if less provocatively, called _The Modularity of Low-Level Peripheral Systems_. High-level perception and cognitive systems are non-modular on Fodor’s theory. In recent years, modularity has found more zealous defenders, who claim that the entire mind divides into highly specialized (...) modules. This view has been especially popular among Evolutionary Psychologists. They claim that the mind is massively modular (Cosmides and Tooby, 1994; Sperber, 1994; Pinker, 1997; see also Samuels, 1998). Like a Swiss Army Knife, the mind is an assembly of specialized tools, each of which has been designed for some particular purpose. My goal here is to raise doubts about both peripheral modularity and massive modularity. To do that, I will rely on the criteria for modularity laid out by Fodor (1983). I will argue that neither input systems, nor central systems are modular on any of these criteria. (shrink)

Alva Noë’s _Action in Perception _offers a provocative and vigorous defense of the thesis that vision is enactive: visual experience depends on dispositional motor responses. On this view, vision and action are inextricably bound. In this review, I argue against enactive perception. I raise objections to seven lines of evidence that appear in Noë’s book, and I indicate some reasons for thinking that vision can operate independently of motor responses. I conclude that the relationship between vision and action is causal, (...) not constitutive. I then address three other contentious hypotheses in the book. Noë argues that visual states are not pictorial; he argues that all perception is conceptual; and he argues that the external world makes a constitutive contribution to experience. I am unpersuaded by these arguments, and I offer reasons to resist Noë’s conclusions. (shrink)

What kind of mental phenomenon is romantic love? Many philosophers, psychologists, and ordinary folk treat it as an emotion. This chapter argues the category of emotion is inadequate to account for romantic love. It examines major emotion theories in philosophy and psychology and shows that they fail to illustrate that romantic love is an emotion. It considers the categories of basic emotions and emotion complexes, and demonstrates they too come short in accounting for romantic love. It assesses the roles of (...) culture and evolution in shaping the romantic love phenomenon and evaluates the ways in which the norms of rationality that are applied to standard emotions fail to apply to love. It considers the category of sentiments and argue that despite coming close, it does not adequately capture the nature of romantic love. Finally, the chapter makes a case for love being best characterized as a syndrome. (shrink)

A timely and uniquely compelling plea for the importance of nurture in the ongoing nature-nurture debate. In this era of genome projects and brain scans, it is all too easy to overestimate the role of biology in human psychology. But in this passionate corrective to the idea that DNA is destiny, Jesse Prinz focuses on the most extraordinary aspect of human nature: that nurture can supplement and supplant nature, allowing our minds to be profoundly influenced by experience and culture. Drawing (...) on cutting-edge research in neuroscience, psychology, and anthropology, Prinz shatters the myth of human uniformity and reveals how our differing cultures and life experiences make each of us unique. Along the way he shows that we can’t blame mental illness or addiction on our genes, and that societal factors shape gender differences in cognitive ability and sexual behavior. A much-needed contribution to the nature-nurture debate, Beyond Human Nature shows us that it is only through the lens of nurture that the spectrum of human diversity becomes fully and brilliantly visible. (shrink)

Situationists argue that virtue ethics is empirically untenable, since traditional virtue ethicists postulate broad, efficacious character traits, and social psychology suggests that such traits do not exist. I argue that prominent philosophical replies to this challenge do not succeed. But cross-cultural research gives reason to postulate character traits, and this undermines the situationist critique. There is, however, another empirical challenge to virtue ethics that is harder to escape. Character traits are culturally informed, as are our ideals of what traits are (...) virtuous, and our ideals of what qualifies as well-being. If virtues and well-being are culturally constructed ideals, then the standard strategy for grounding the normativity of virtue ethics in human nature is undermined. (shrink)

Thus declares Francis Hutcheson, expressing a view widespread during the Enlightenment, and throughout the history of philosophy. According to this tradition, we are by nature moral, and ourS concern for good and evil is as natural to us as our capacity to feel pleasure and pain. The link between morality and human nature has been a common theme since ancient times, and, with the rise of modern empirical moral psychology, it remains equally popular today. Evolutionary ethicists, ethologists, developmental psychologists, social (...) neuroscientists, and even some cultural anthropologists tend to agree that morality is part of the bioprogram (e.g., Cosmides & Tooby, 1992; de Waal, 1996; Haidt & Joseph, 2004; Hauser, 2006; Ruse, 1991; Sober & Wilson, 1998; Turiel, 2002). Recently, researchers have begun to look for moral modules in the brain, and they have been increasingly tempted to speculate about the moral acquisition device, and innate faculty for norm acquisition akin to celebrated language acquisition device, promulgated by Chomsky (Dwyer, 1999; Mikhail, 2000; Hauser, this volume). All this talk of modules and mechanism may make some shudder, especially if they recall that eugenics emerged out of an effort to find the biological sources of evil. Yet the tendency to postulate an innate moral faculty is almost irresistible. For one thing, it makes us appear nobler as a species, and for another, it offers an explanation of the fact that people in every corner of the globe seem to have moral rules. Moral nativism is, in this respect, an optimistic doctrine—one that makes our great big world seem comfortingly smaller. I want to combat this alluring idea. I do not deny that morality is ecumenical, but I think it is not innate—at least that the current state of evidence is unpersuasive. Morality, like all human capacities, depends on having particular biological predispositions, but none of these, I submit, deserves to be called a moral faculty. Morality is a byproduct—accidental or invented—of faculties that evolved for other purposes.. (shrink)

Reading the philosophical literature on consciousness, one might get the idea that there is just one problem in consciousness studies, the hard problem. That would be a mistake. There are other problems; some are more tractable, but none are easy, and all interesting. The literature on the hard problem gives the impression that we have made little progress. Consciousness is just an excuse to work and re-work familiar positions on the mind-body problem. But progress is being made elsewhere. Researchers are (...) moving towards increasingly specific accounts of the neural basis of conscious experience. These efforts will leave some questions unanswered, but they are no less significant for that. (shrink)

There seems to be a large gulf between percepts and concepts. In particular, con- cepts seem to be capable of representing things that percepts cannot. We can conceive of things that would be impossible to perceive. (The converse may also seem true, but I will leave that to one side.) In one respect, this is trivially right. We can conceive of things that we cannot encounter, such as unicorns. We cannot literally perceive unicorns, even if we occasionally.

We define aesthetic emotions as emotions that underlie the evaluative assessment of artworks. They are separated from the wider class of art-elicited emotions. Aesthetic emotions historically have been characterized as calm, as lacking specific patterns of embodiment, and as being a sui generis kind of pleasure. We reject those views and argue that there is a plurality of aesthetic emotions contributing to praise. After presenting a general account of the nature of emotions, we analyze twelve positive aesthetic emotions in four (...) different categories: emotions of pleasure, contemplation, amazement, and respect. The emotions that we identify in each category, including feelings of fluency, intrigue, wonder, and adoration, have been widely neglected both within aesthetics and in emotion research more broadly. (shrink)

This paper develops an empirically motivated theory of visual consciousness. It begins by outlining neuropsychological support for Jackendoff's (1987) hypothesis that visual consciousness involves mental representations at an intermediate level of processing. It then supplements that hypothesis with the further requirement that attention, which can come under the direction of high level representations, is also necessary for consciousness. The resulting theory is shown to have a number of philosophical consequences. If correct, higher-order thought accounts, the multiple drafts account, and the (...) widely held belief that sensation precedes perception will all be found wanting. The theory will also be used to illustrate and defend a methodology that fills the gulf between functionalists who ignore the brain and neural reductionists who repudiate functionalism. (shrink)

Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These two topics are (...) related, of course, because they nature of appreciation may bear on what things are worthy of that response, or at least on what things are likely to elicit it. So I will have some things to say about the latter. But I want to focus in this discussion on appreciation itself. When we praise a work of art, when we say it has aesthetic value, what does our praise consist in? This is a question about aesthetic psychology. I am interested in what kind of mental state appreciation is. What kind of state are we expressing when we say a work of art is “good”? This question has parallels in other areas of value theory. In ethics, most notably, there has been much attention lavished on the question of what people express when they refer to an action as “morally good.” One popular class of theories, associated with the British moralists and their followers, posits a link between moral valuation and emotion. To call an act morally good is to express an emotion toward that act. I think this approach to morality is right on target (Prinz, 2007). Here I want to argue that an emotional account of aesthetic valuation is equally promising. There are important differences between the two domains, but both have an affective foundation. I suspect that valuing of all kinds involves the emotions. Here I will inquire into the role of emotions in aesthetic valuing. I will not claim that artworks express emotions or even that they necessarily evoke emotions.. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest an Aesthetic Self Effect supporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral (...) changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences. Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity. Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect. Exploring the breadth of this effect we also found an Anaesthetic Self Effect. That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games. Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

In one of the most frequently quoted passages in the history of emotion research, William James (1884: 189f) announces that emotions occur when the perception of an exciting fact causes a collection of bodily changes, and “our feeling of the same changes as they occur IS the emotion.” The same idea occurred to Carl Lange (1984) around the same time. These authors were not the first to draw a link between the emotions and the body. Indeed, this had been a (...) central theme of Descartes’ exquisite opus, The Passions of the Soul. But James and Lange wanted to push things farther than most, suggesting that emotions are exhausted by bodily changes or perceptions thereof. Other kinds of mental episodes might co-occur when we have an emotion state. For James, an emotion follows an exciting perception. But the exciting perception is not a part of the emotion it excited (Ellsworth, 1994, reads James differently, but see Reisenzein et al.’s 1995 convincing response). The majority of contemporary emotion researchers, especially those in philosophy, find this suggestion completely untenable. Surely, emotions involve something more. At their core, emotions are more like judgments or thoughts, than perceptions. They evaluate, assess, or appraise. Emotions are amendable to rational assessment; they report, correctly or incorrectly, on how we are faring in the world. Within this general consensus, there is a further debate about whether the body should figure into a theory of emotions at all. Perhaps James and Lange offer a theory that is not merely incomplete, but entirely off base. Where they view judgments as contingent and non-constitutive concomitants of emotions, it is actually bodily perceptions that deserve this demotion. Perhaps emotions can be, and often are, disembodied in some fundamental sense. (shrink)

This chapter argues that emotion recognition is a skill. A skill perspective on emotion recognition draws attention to underappreciated features of this cornerstone of social cognition. Skills have a number of characteristic features. For example, they are improvable, practical, and flexible. Emotion recognition has these features as well. Leading theories of emotion recognition often draw inadequate attention to these features. The chapter advances a theory of emotion recognition that is better suited to this purpose. It proposes that emotion recognition involves (...) scripts. Emotion scripts describe how people are likely to behave in different emotional contexts. Scripts can be improved with the addition of richer social knowledge, they are practical in that they describe and guide social interaction, and they are flexible because they must accommodate the fact that emotions have different behavioral impact depending on the agents involved and the circumstances at play. Learning to recognize emotions through scripts qualifies as a skill. (shrink)

Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. Together, these lessons suggest that (...) art appreciation is not just about finding beauty or aesthetic worth but is also about constructing a self. (shrink)

Theoretical models and correlational research suggest that anger and disgust play different roles in moral judgment. Anger is theorized to underlie reactions to crimes against persons, such as battery and unfairness, and disgust is theorized to underlie reactions to crimes against nature, such as sexual transgressions and cannibalism. To date, however, it has not been shown that induction of these two emotions has divergent effects. In this experiment we show divergent effects of anger and disgust. We use sounds to elicit (...) anger and disgust, and participants are then asked to consider moral vignettes. As compared to disgust and control condition, anger increases severity of judgments about crimes against persons, and disgust increases severity of judgments about crimes against nature, but not conversely. (shrink)

The majority of emotion researchers reject the feeling theory of emotions; they deny that emotions are feelings. Some of these researchers admit that emotions have feelings as components, but they insist that emotions contain other components as well, such as cognitions. I argue for a qualified version of the feeling theory. I present evidence in support William James's conjecture that emotions are perceptions of patterned changes in the body. When such perceptions are conscious, they qualify as feelings. But the bodily (...) perceptions constituting emotions can occur unconsciously. When that occurs, emotions are unfelt. Thus, emotions are feelings when conscious, and they are not feelings when unconscious. In the end of the paper, I briefly sketch a theory of how emotions and other perceptual states become conscious. (shrink)

In this chapter, I outline and defend a version of concept empiricism. The theory has four central tenets: Concepts represent categories by reliable causal relations to category instances; conceptual representations of category vary from occasion to occasion; these representations are perceptually based; and these representations are all learned, not innate. The last two tenets on this list have been central to empiricism historically, and the first two have been developed in more recent years. I look at each in turn, and (...) then I discuss the most obvious objection to empiricism. According to that objection, some concepts cannot be perceptually based because they represent things that are abstract, and hence unperceivable. I discuss two standard examples: democracy and moral badness. I argue that both can be explained using resources available to the empiricist. (shrink)

There are two major perspectives on the origin of emotions. According to one, emotions are the products of natural selection. They are evolved adaptations, best understood using the explanatory tools of evolutionary psychology. According to the other, emotions are socially constructed, and they vary across cultural boundaries. There is evidence supporting both perspectives. In light of this, some have argued both approaches are right. The standard strategy for compromise is to say that some emotions are evolved and others are constructed. (...) The evolved emotions are sometimes given the label “basic,” and there is considerable agreement about a handful of emotions in this category. My goal here is to challenge all of these perspectives. I don’t think we should adopt a globally evolutionary approach, nor indulge the radical view that emotions derive entirely from us. I am equally dissatisfied with approaches that attempt to please Darwinians and constructivists by dividing emotions into two separate classes. I will defend another kind of ecumenicalism. Every emotion that we have a name for is the product of both nature and nurture. Emotions are evolved and constructed. The dichotomy between the two approaches cannot be maintained. This thesis will require making some claims that would be regarded as surprising to many emotion researchers. First, while there is a difference between basic emotions and nonbasic emotions, it is not a structural difference. All emotions are fundamentally alike. Second, the standard list of basic emotions, though by many to be universal across cultures, are not basic after all. We don’t have names for the basic emotions. All emotions that we talk about are culturally informed. And finally, this concession to constructivism does not imply that emotions are cognitive in any sense. Emotions are perceptual and embodied. They are gut reactions, and they are not unique to our species.. (shrink)

Once upon a time, people thought that all perception was conscious. Indeed, it was widely believed that all mental states are conscious, so the problem of explaining consciousness collapses into the problem of explaining mentality. But things have changed. Most people now believe that a lot goes on unconsciously. Indeed, some people believe that mental states that are not perceptual in nature are never conscious. That’s a matter of controversy. Less controversial is the claim that perceptual states are conscious some (...) of the time, but not all of the time. This raises a question. When are perceptual states conscious? A theory of consciousness is, in large part, an answer to that question. In this chapter, I will offer a few critical remarks on one answer that has been popular in philosophy, and then I will offer a defense of another answer that has emerged out of cognitive science. To avoid undue suspense, the answer that I favor is that perceptual states become conscious when and only when the perceiver is attending. (shrink)

Edward Titchener, one of the great champions of introspectionist psychology, declared that 'the term Introspection, as we find it used today, is highly equivocal, and that the procedure which it connotes may be scientifically illegitimate, or even wholly imaginary' . He made the point because he wanted to insulate his preferred method of doing psychological research from criticisms that were directed against forms of introspection that he conceded to be unreliable. The point, however, is not just that we can introspect (...) more or less carefully. It is that there are 'gross differences in the meaning of the word' . 'Introspection' is Janus-faced. It splinters into several different species, involving different underlying mechanisms. (shrink)

Beginning in the late 1960s, psychologists began to challenge the view the definitional theory of concepts. According to that theory a concept is a mental representation comprising representations of properties (or “features”) that are individually necessary and jointly sufficient for membership in a category. In place of the definitional view, psychologists initially put forward the prototype theory of concept, according to which concepts comprise representations of features that are typical, salient, and diagnostic for category membership, but not necessarily necessary. The (...) prototype theory gained considerable support in the 1970s, but came under attack in the 1980s. One objection, most forcefully advanced by Jerry Fodor, is that prototypes do not combine compositionally. Compositionality is said to be an adequacy condition on a theory of concepts. If prototypes don’t compose, then prototypes are not concepts. Or so the argument goes. (shrink)

In a provocative and important article, Robert Solomon argues that emotion researchers should abandon the notion of valence: it is used many different ways, and no single construct captures the pretheoretical distinction between positive and negative emotions. I echo Solomon in arguing that some of the most popular theories of valence are unlikely to succeed, though my case against these constructs comes from a noncognitive, as opposed to cognitive, perspective. I then argue that there is one notion of valence, related (...) to reward and punishment, that may apply to all emotions, and align with pretheoretical taxonomies. (shrink)

Fodor’s theory makes thinking prior to doing. It allows for an inactive agent or pure reflector, and for agents whose actions in various ways seem to float free of their own conceptual repertoires. We show that naturally evolved creatures are not like that. In the real world, thinking is always and everywhere about doing. The point of having a brain is to guide the actions of embodied beings in a complex material world. Some of those actions are, to be sure, (...) more recondite than others. But in every case the contents of thoughts still look to depend, in some non-unique but vitally important way, on the kinds of doings they support. (shrink)