In recent years there has been a revival of a theory of conscious emotions as analogous in important ways to perceptual experiences. In the standard versions of this view emotions are construed as, potentially, perceptual disclosures of values. The model has been widely debated and criticized. In this paper I reconstruct an early, qualified version of the perceptual model to be found in the classical phenomenological approaches of Scheler and Sartre. After outlining this (...) version of the theory, I examine its prospects against objections prominent in the current debate. (shrink)

This paper examines the model of the emotions put forward by Reinach and Scheler at the beginning of the 20th century and presents it as a plausible alternative to the contemporary “perceptual model.” According to the Reinach-Scheler view, emotions are not perceptions of value, but possible responses to values given to us in value-feelings. The paper is divided into two parts. The first is an historical investigation of the origins of the model in Reinach’s (...) and Scheler’s works within the broader context of early phenomenology. The second part presents systematic arguments for the distinction between value-feeling and emotional response. (shrink)

One central argument in favor of perceptual accounts of emotions concerns recalcitrant emotions: emotions that persist in the face of repudiating judgments. For, it is argued, to understand how the conflict between recalcitrant emotions and judgment falls short of incoherence in judgment, we need to understand recalcitrant emotions to be something like perceptual illusions of value, so that in normal, non-recalcitrant cases emotions are non-illusory perceptions of value. I argue that these arguments (...) fail and that a closer examination of recalcitrant emotions reveals important disanalogies with perception that undermine the perceptual model of emotions. (shrink)

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

Empirical assessments of Cognitive Behavioral Theory and theoretical considerations raise questions about the fundamental theoretical tenet that psychological disturbances are mediated by consciously accessible cognitive structures. This paper considers this situation in light of emotion theory in philosophy. We argue that the “perceptual theory” of emotions, which underlines the parallels between emotions and sensory perceptions, suggests a conception of cognitive mediation that can accommodate the observed empirical anomalies and one that is consistent with the dual-processing models dominant (...) in cognitive psychology. (shrink)

Computational models of emotions have been thriving and increasingly popular since the 1990s. Such models used to be concerned with the emotions of individual agents when they interact with other agents. Out of the array of models for the emotions, we are going to devote special attention to the approach in Adamatzky’s Dynamics of Crowd-Minds. The reason it stands out, is that it considers the crowd, rather than the individual agent. It fits in computational intelligence. It works (...) by mathematical simulation on a crowd of simple artificial agents: by letting the computer program run, the agents evolve, and crowd behaviour emerges. Adamatzky’s purpose is to give an account of the emergence of allegedly “irrational” behaviour. This is not without problem, as the irrational to one person may seem entirely rational to another, and this in turn is an insight that, in the history of crowd psychology, has affected indeed the competition among theories of crowd dynamics. Quite importantly, Adamatzky’s book argues for the transition from individual agencies to a crowd’s or a mob’s coalesced mind as so, and at any rate for coalesced crowd’s agency. (shrink)

Perceptual theories of emotion purport to avoid the problems of traditional cognitivism and noncognitivism by modelling emotion on perception, which shares the most conspicuous dimensions of emotion, intentionality and phenomenality. In this paper, I shall reconstrue and discuss four key arguments that perceptual theorists have presented in order to show that emotion is a kind of perception, or that there are close analogies between emotion and perception. These arguments are, from stronger to weaker claims: the perceptual system (...) argument; the argument from noninferential structure; the argument from epistemic role; and the argument from phenomenology. I argue that, while the arguments in favour of assimilating emotion to perception fail, the analogies between emotion and perception are not as close as perceptual theorists suggest even if some emotions resemble perception more than others, thanks to the two-levelled structure of emotional processing. (shrink)

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional (...) involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

What accounts for the capacity of ordinary speakers to comprehend utterances of their language? The phenomenology of hearing speech in one’s own language makes it tempting to many epistemologists to look to perception for an answer to this question. That is, just as a visual experience as of a red square is often taken to give the perceiver immediate justification for believing that there is a red square in front of her, perhaps an auditory experience as of the speaker asserting (...) that p gives the competent hearer immediate justification for believing that the speaker has asserted that p. My aim here is to offer reasons for resisting this temptation. I argue that the perceptual model cannot adequately account for the hearer’s justification in many cases. The arguments here also allow us to draw certain further morals about the role of phenomenology in the epistemology of perception. (shrink)

How does the human brain link relational concepts to perceptual experience? For example, a speaker may say “the cup to the left of the computer” to direct the listener's attention to one of two cups on a desk. We provide a neural dynamic account for both perceptual grounding, in which relational concepts enable the attentional selection of objects in the visual array, and for the generation of descriptions of the visual array using relational concepts. In the model, (...) activation in neural populations evolves dynamically under the influence of both inputs and strong interaction as formalized in dynamic field theory. Relational concepts are modeled as patterns of connectivity to perceptual representations. These generalize across the visual array through active coordinate transforms that center the representation of target objects in potential reference objects. How the model perceptually grounds or generates relational descriptions is probed in 104 simulations that systematically vary the spatial and movement relations employed, the number of feature dimensions used, and the number of matching and nonmatching objects. We explain how sequences of decisions emerge from the time‐ and state‐continuous neural dynamics, how relational hypotheses are generated and either accepted or rejected, followed by the selection of new objects or the generation of new relational hypotheses. Its neural realism distinguishes the model from information processing accounts, its capacity to autonomously generate sequences of processing steps distinguishes it from deep neural network accounts. The model points toward a neural dynamic theory of higher cognition. (shrink)

Competing perspectives on the nature of emotion are illustrated with latent and emergent variable models. Latent variable models draw from classical test theory, assuming that the measured indicators of emotion covary by virtue of some common executive, organizing neural circuit or network in the brain. By contrast, emergent variable models draw from a theory-driven, operational definition tradition, positing that emotions do not cause, but rather are caused by, the measured indicators of emotion, assuming no executive neural circuit or network, (...) and requiring no covariation among indicators. I suggest that the emergent variable model may be more compatible with the extant literature on the nature of emotion, especially in the age of affective neuroscience. (shrink)

In this special section, Ekman and Cordaro (2011); Izard (2011); Levenson (2011); and Panksepp and Watt (2011) have each outlined the latest instantiation of each lead author’s theoretical model of basic emotions. We identify four themes emerging from these models, and discuss areas of agreement and disagreement. We then briefly evaluate the models’ usefulness by examining how they would account for an emotion that has received considerable empirical attention but does not fit clearly within or outside of the (...) basic emotion category: pride. Finally, we compare the central themes covered by the four models with themes emerging from current emotion research, to conclude that, for the most part, the models are comprehensive; they largely converge with the current state of affective science research. (shrink)

Because of the complexity of human emotional responses, invariants must be sought not in the responses themselves, but in their generating mechanisms. Lindquist et al. show that functional locationism is a theoretical dead end; their proposed mechanistic framework is a first step toward better models of emotional behavior. We caution, however, that emotions may still be quasi-natural perceptual types.

This paper looks closely at previously enunciated axioms that specifically include phenomenology as the sense of a self in a perceptual world. This, we suggest, is an appropriate way of doing science on a first-person phenomenon. The axioms break consciousness down into five key components: presence, imagination, attention, volition and emotions. The paper examines anew the mechanism of each and how they interact to give a single sensation. An abstract architecture, the Kernel Architecture, is introduced as a starting (...) point for building computational models. The thrust of the paper is to relate the axioms to the kernel architecture and indicate that this opens a way of discussing some first-person issues: tests for consciousness, animal consciousness and Higher Order Thought. (shrink)

Recent application of theories of embodied or grounded cognition to the recognition and interpretation of facial expression of emotion has led to an explosion of research in psychology and the neurosciences. However, despite the accelerating number of reported findings, it remains unclear how the many component processes of emotion and their neural mechanisms actually support embodied simulation. Equally unclear is what triggers the use of embodied simulation versus perceptual or conceptual strategies in determining meaning. The present article integrates behavioral (...) research from social psychology with recent research in neurosciences in order to provide coherence to the extant and future research on this topic. The roles of several of the brain's reward systems, and the amygdala, somatosensory cortices, and motor centers are examined. These are then linked to behavioral and brain research on facial mimicry and eye gaze. Articulation of the mediators and moderators of facial mimicry and gaze are particularly useful in guiding interpretation of relevant findings from neurosciences. Finally, a model of the processing of the smile, the most complex of the facial expressions, is presented as a means to illustrate how to advance the application of theories of embodied cognition in the study of facial expression of emotion. (shrink)

We review evidence that language is involved in the establishment and maintenance of adult categories of facial expressions of emotion. We argue that individual and group differences in facial expression interpretation are too great for a fully specified system of categories to be universal and hardwired. Variations in expression categorization, across individuals and groups, favor a model in which an initial “core” system recognizes only the grouping of positive versus negative emotional expressions. The subsequent development of a rich representational (...) structure may require the integration of a verbal categorization system with a perceptual processing system that is category-agnostic. Such a model may reconcile many strands of apparently conflicting behavioral, physiological, and neuroscience evidence concerning our understanding of facial expressions of emotion. (shrink)

In their cognitive theory of emotion, Schachter and Singer proposed that feelings are separable from what they are about. As a test, they induced feelings of arousal by injecting epinephrine and then molded them into different emotions. They illuminated how feelings in one moment lead into the next to form a stream of conscious experience. We examine the construction of emotion in a similar spirit. We use the sensory integration process to understand how the brain combines disparate sources of (...) information to construct both perceptual and emotional models of the world even as the world continues to change. We emphasize two processes: affect segmentation and affect integration. (shrink)

In this paper, I present and explore some ideas about how factive emotional states and factive perceptual states each relate to knowledge and reasons. This discussion will shed light on the so-called ‘perceptual model’ of the emotions.

Everyday life suggests that picture seeing is sometimes infused by an emotional charge. However, nobody has addressed the importance of explaining this emotional charge in picture perception. Even our best model of picture perception, the dorsal/ventral account of picture perception, which integrates the most important empirical results coming from our best model on vision in neuroscience, the two visual systems model, lacks a reference to this emotional charge. The aim of the present paper is to offer an (...) account of picture perception that is able to regain and explain this neglected emotional charge. My claim is that, as for face-to-face perception, during picture perception, we are not only in a visual perceptual state, but also in an emotional state, which is directly connected to our visual perceptual state. I also show that it is possible to offer this integration while remaining in the philosophical/empirical framework of the dorsal/ventral account of picture perception, whose explanatory power is confirmed and improved. (shrink)

In this essay I focus on two areas discussed in Michael Brady’s Emotion: The Basics, namely perceptual models of emotion and the relation between emotion and virtue. Brady raises two concerns about perceptual theories: that they arguably collapse into feeling or cognitive theories of emotion; and that the analogy between emotion and perception is questionable at best, and is thus not an adequate way of characterizing emotion. I argue that a close look at perception and emotional experience reveals (...) a structure of emotion that avoids these problems. I then explore other ways in which emotions can be operative in virtuous acts and virtue traits outside of their relation to motivation. The patterns of emotional response that we have can affect virtue because they affect the way in which we see and take-in information about the world, and the gravity that such perceptions have for us. In addition, emotions are critical to virtue because they maintain the level of importance that values have for us, and in doing so forestall axiological entropy, namely the fading of the importance that values have for us, and thus the virtues that are dependent on those values. (shrink)

In the perceptual model of mystical experience, the mystics are said to “perceive” God much like ordinary people perceive physical objects. The model has been used to defend the epistemic value of mysticism, and it has been championed most vigorously by William Alston in his work Perceiving God. This paper is a critique of the model from a phenomenological perspective. Utilizing insights from Husserl and Merleau-Ponty, I show that models like Alston’s are based on an inadequate (...) notion of perception, which fails to distinguish perception from other modes of intentionality; the result is that even if we assume the mystics have directly experienced God, it is not clear why we should say they have “perceived” God. Then, using a better and richer concept of perception, I show that the mystical experiences under discussion cannot be truly perceptual, because they lack some salient features of perception. The conclusion is that talks of “perceiving God” can only be analogical or metaphorical, but not literal. (shrink)

This article presents seven principles that have guided our thinking about emotional intelligence, some of them new. We have reformulated our original ability model here guided by these principles, clarified earlier statements of the model that were unclear, and revised portions of it in response to current research. In this revision, we also positioned emotional intelligence amidst other hot intelligences including personal and social intelligences, and examined the implications of the changes to the model. We discuss the (...) present and future of the concept of emotional intelligence as a mental ability. (shrink)

We meta-analytically investigated relations between the four-branch model of ability emotional intelligence with fluid and crystallized intelligence. We found that for each branch, the strength of relations with Gf and Gc were equivalent. Understanding emotions has the strongest relation with Gf/Gc combined, relative to facilitating thought using emotion, managing emotions, and perceiving emotion ; for the latter, relations were also moderated by stimulus type. We conclude with implications and recommendations for the study of ability EI.

This study analyses the emotional exhaustion of students inhigher education, derived from the extremely technology-relatedstrain associated to the current COVID-19 pandemic in a conservation of resources’ approach. Technostress, as source of emotional exhaustion, was investigated in a sample of 333 students in a medium size public university in Spain. Data was collected in May 2020, during the COVID lockdown. After literature review, a structural model was developed, linking technostress with emotional exhaustion. Results confirm the expected cause-effect relationships. In addition, (...) the study reveals two mediator variables that must be considered when managing students′ suffering, perceived stress and intrapersonal conflicts. This study contributes to the academic literature in the field of managing and mitigating suffering. They do so by providing both new knowledge and empirical evidence on the effects of technostress in the new generations that will soon join the working life. (shrink)

Processes comparable in important respects to those underlying human conscious and non-conscious processing can be identified in a range of species and it is argued that these reflect evolutionary precursors of the human processes. A distinction is drawn between two types of processing: stimulus-based and higher-order. For ‘higher-order,’ in humans the operations of processing are themselves associated with conscious awareness. Conscious awareness sets the context for stimulus-based processing and its end-point is accessible to conscious awareness. However, the mechanics of the (...) translation between stimulus and response proceeds without conscious control. The paper argues that higher-order processing is an evolutionary addition to stimulus-based processing. The model’s value is shown for gaining insight into a range of phenomena and their link with consciousness. These include brain damage, learning, memory, development, vision, emotion, motor control, reasoning, the voluntary versus involuntary debate, and mental disorder. (shrink)

This chapter explores to what extent some core ideas of predictive processing can be applied to the phenomenology of time consciousness. The focus is on the experienced continuity of consciously perceived, temporally extended phenomena (such as enduring processes and successions of events). The main claim is that the hierarchy of representations posited by hierarchical predictive processing models can contribute to a deepened understanding of the continuity of consciousness. Computationally, such models show that sequences of events can be represented as states (...) of a hierarchy of dynamical systems. Phenomenologically, they suggest a more fine-grained analysis of the perceptual contents of the specious present, in terms of a hierarchy of temporal wholes. Visual perception of static scenes not only contains perceived objects and regions but also spatial gist; similarly, auditory perception of temporal sequences, such as melodies, involves not only perceiving individual notes but also slightly more abstract features (temporal gist), which have longer temporal durations (e.g., emotional character or rhythm). Further investigations into these elusive contents of conscious perception may be facilitated by findings regarding its neural underpinnings. Predictive processing models suggest that sensorimotor areas may influence these contents. (shrink)

The paper considers three main models of temporal consciousness proposed in grappling with the “paradox of temporal awareness”. They are based on the notion that there is a basic element of perception in the form of some “mental frame” or “apparent present” which, while effective for describing some perceptual features, does not fully reflect our phenomenal experience. It is argued that a two-level model based on the separation of the “specious present” and “current present” is best correlated with (...) higher-order theories of consciousness and should act as a basis for further development of the temporal model of consciousness. (shrink)

Emotion is closely associated with language, but we know very little about how children express emotion in their own writing. We used a large‐scale, cross‐sectional, and data‐driven approach to investigate emotional expression via writing in children of different ages, and whether it varies for boys and girls. We first used a lexicon‐based bag‐of‐words approach to identify emotional content in a large corpus of stories (N>100,000) written by 7‐ to 13‐year‐old children. Generalized Additive Models were then used to model changes (...) in sentiment across age and gender. Two other machine learning approaches (BERT and TextBlob) validated and extended these analyses, converging on the finding that positive sentiments in children's writing decrease with age. These findings echo reports from previous studies showing a decrease in mood and an increased use of negative emotion words with age. We also found that stories by girls contained more positive sentiments than stories by boys. Our study shows the utility of large‐scale data‐driven approaches to reveal the content and nature of children's writing. Future experimental work should build on these observations to understand the likely complex relationships between written language and emotion, and how these change over development. (shrink)

The perceptual model of emotions maintains that emotions involve, or are at least analogous to, perceptions of value. On this account, emotions purport to tell us about the evaluative realm, in much the same way that sensory perceptions inform us about the sensible world. An important development of this position, prominent in recent work by Peter Goldie amongst others, concerns the essential role that virtuous habits of attention play in enabling us to gain perceptual (...) and evaluative knowledge. I think that there are good reasons to be sceptical about this picture of virtue. In this essay I set out these reasons, and explain the consequences this scepticism has for our understanding of the relation between virtue, emotion, and attention. In particular, I argue that our primary capacity for recognizing value is in fact a non-emotional capacity. (shrink)

What is the viewpoint regarding the emotional lives of sages in the Zhuangzi 莊子? There are two conflicting positions in current scholarship: sages have emotions, and sages are without emotions. In this essay, we introduce these positions with their corresponding textual support and show that they are not satisfactory accounts. Specifically, we point out that the conflict arises as scholars adopt a static model of emotions. Thus, we propose that a better way to understand the emotional (...) lives of sages is to adopt a dynamic model of emotions characterized by the process of forgetting. Through the discussion of such a dynamic process, we show how conflicting textual evidence can be integrated into this dynamic process and, at the same time, be read consistently. Ultimately, we argue that the ideal emotional lives of sages in the Zhuangzi adopt a dynamic model of emotions characterized by the vacillation of activity of the mind between the state with and without emotions. (shrink)

In this article I analyze the academic reception of Jonathan Haidt’s seminal article _The emotional dog and its rational tail: A social intuitionist approach to moral judgment_. My thesis is that in the spheres of philosophy and psychology, this article was initially studied within the neurocentric paradigm, which dominated the field of scientific reflection in the fifteen years following its publication. This neurocentric reading established a specific interpretation of the text with several limitations. However, more recently a digital paradigm has (...) emerged and come to prevail in academia, providing a new perspective from which to return to Haidt’s text. Indeed, this approach makes it possible to unravel elements of the famous article that in the neurocentric paradigm went unnoticed by researchers. Moreover, the digital paradigm manages to better integrate Haidt’s seminal article into his later work as a whole. (shrink)

In this article I analyze the academic reception of Jonathan Haidt’s seminal article _The emotional dog and its rational tail: A social intuitionist approach to moral judgment_. My thesis is that in the spheres of philosophy and psychology, this article was initially studied within the neurocentric paradigm, which dominated the field of scientific reflection in the fifteen years following its publication. This neurocentric reading established a specific interpretation of the text with several limitations. However, more recently a digital paradigm has (...) emerged and come to prevail in academia, providing a new perspective from which to return to Haidt’s text. Indeed, this approach makes it possible to unravel elements of the famous article that in the neurocentric paradigm went unnoticed by researchers. Moreover, the digital paradigm manages to better integrate Haidt’s seminal article into his later work as a whole. (shrink)

The perceptual model of emotions maintains that emotions involve, or are at least analogous to, perceptions of value. On this account, emotions purport to tell us about the evaluative realm, in much the same way that sensory perceptions inform us about the sensible world. An important development of this position, prominent in recent work by Peter Goldie amongst others, concerns the essential role that virtuous habits of attention play in enabling us to gain perceptual (...) and evaluative knowledge. I think that there are good reasons to be sceptical about this picture of virtue. In this essay I set out these reasons, and explain the consequences this scepticism has for our understanding of the relation between virtue, emotion, and attention. In particular, I argue that our primary capacity for recognizing value is in fact a non-emotional capacity. (shrink)

The aim of this paper is to advance, within the framework of enactivism, towards a more radically embodied and situated theory of emotions and, in general, of affectivity. Its starting point is that of discussing the well-established notion of bodily resonance (Fuchs 2013, Fuchs & Koch 2014, Fuchs 2018) and the primordial affectivity approach (Colombetti 2014). I will incorporate John Dewey’s theory of emotions, and recent models and empirical finding from cognitive science on the relation between perception and (...) bodily activity (Azzalini, Rebollo & Tallon-Baudry 2019; Allen et al. 2019). The novel element proposed in this paper is taking into consideration the role of bodily oscillatory activity in the perceptual side of cognition through phenomena of relative coordination. This concept from dynamical systems theory allows for an enactivist view of emotions as temporal episodes triggered by a tension that affects the rhythmic interaction between brain, body, and environment. By defending the importance of this enacted rhythm, the body emerges as a truly active agent, gating and modulating affectivity during all the stages of the sensorimotor circuit from perception to action. (shrink)

Using the example of the difficulties which emerge when trying to model complex behaviors – such as emotional expression – that result from stochastic interactions between different components, we argue that biorobotics may well describe one possible evolution of certain features of a biological system, but cannot pretend to be a simulation of the whole behavior of the system.

What is W. V. O. Quine’s relationship to classical pragmatism? Although he resists the comparison to William James in particular, commentators have seen an affinity between his “web of belief” model of theory confirmation and James’s claim that our beliefs form a “stock” that faces new experience as a corporate body. I argue that the similarity is only superficial. James thinks our web of beliefs should be responsive not just to perceptual but also to emotional experiences in some (...) cases; Quine denies this. I motivate James’s controversial view by appealing to an episode in the history of medicine when a researcher self-experimented by swallowing a vial of bacteria that at the time had not been studied in much detail. The researcher’s commitment to his own as-yet untested hypothesis was based in part on emotional considerations. Finally, I argue that Quine’s insistence that emotions can never be relevant to adjusting our web of belief reflects a tacit holdover of one of logical positivism’s crucially anti-pragmatist commitments—that philosophy of science should focus exclusively on the context of justification, not the context of discovery. James’s emphasis on discovery as a (perhaps the) crucial locus for epistemological inquiry is characteristic of pragmatism in general. Since Quinean epistemology is always an epistemology of justification, he is not happily viewed as a member of the pragmatist tradition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Image of the Performing BodyEric C. Mullis (bio)Elsewhere I have discussed the principles of embodied expression that are developed in the practice of the performance arts—dance and theatre.1 These principles, it was argued, disclose the work that must be done in order to transform the human body into an aesthetically expressive medium. That is, precarious balance, the interplay of oppositional energies, and the compression of energy must be (...) mastered if a performance artist is to overcome the artifice of the stage and develop scenic presence. However, in that essay I said little regarding the manner in which the body acquires these skills and little about the effects that the transformation has on the artist's experience of embodiment. I would like to continue here by discussing how the body is modified in the process of developing the skill sets necessary for performance as well as how this developmental process affects the performer's corporeal experience. More specifically, I will draw on the notions of the body schema and the body image in order to clarify how the body can be transformed into an aesthetically expressive medium. In the first section I discuss the functions of the body image and body schema as well as the nature of their interaction. In the second section I discuss what relevance these concepts have for our understanding of the skill acquisition process. Finally, since the points made in the first two sections can be applied to non-peformative practices (such as sport, yoga, and martial arts) the last section focuses on the performance arts by discussing how the body schema and body image are developed in order to create a space of effective gesture.Body Image and Body SchemaShaun Gallagher argues that "The body image consists of a complex set of intentional states and dispositions—perceptions, beliefs, and attitudes—in [End Page 62] which the intentional object is one's own body."2 That is, there are three kinds of intentional content that constitute the body image—the body percept, the body concept, and the body affect. The image of my body is rooted in sensorimotor and kinesthetic perceptions, specific beliefs about my body, as well as emotions that often arise in response to such beliefs. Perception gives me a sense of the condition of my body at any point in time, while conceptions build upon perceptual content and allow one to understand the nature of one's embodiment. For example, the belief that the body is akin to a machine that can run well, break down, be diagnosed, and repaired is widespread since it is based in a widely accepted philosophy of medicine. That is, the body is often conceived as a thing that must be fixed by those who have the expertise that allows them to understand its intricate systems and processes. This example not only gives us insight into the perceptual and conceptual content of the body image but also demonstrates that beliefs about the body are conditioned by culture. This latter point is also supported by observations regarding the manner in which the body is invested with emotion. For example, some may feel frustrated with their bodies since they do not meet social standards of beauty, while others experience the joys of physical competition and accomplishment that are brought about by participating in widely practiced games. This brief discussion illustrates that the image that one has of one's body is a synthesis of perceptual experience, beliefs about the nature of one's body, and emotional responses.In 1911 Head and Holmes defined the body schema as the postural model of the body.3 In this account, the body schema functions by continually comparing the body's present posture to those held in the immediate past. That is, at the preconscious level, the schema provides a standard against which changes in posture can be judged. It must be stressed that the body schema functions below the surface of consciousness and, unlike the body image, does not include perceptions, attitudes, or beliefs about the body and is consequently not subject to cultural influence. Gallagher notes that the body schema "is a system of sensory-motor... (shrink)

Recent studies of emotion mindreading reveal that for three emotions, fear, disgust, and anger, deficits in face-based recognition are paired with deficits in the production of the same emotion. What type of mindreading process would explain this pattern of paired deficits? The simulation approach and the theorizing approach are examined to determine their compatibility with the existing evidence. We conclude that the simulation approach offers the best explanation of the data. What computational steps might be used, however, in simulation-style (...) emotion detection? Four alternative models are explored: a generate-and-test model, a reverse simulation model, a variant of the reverse simulation model that employs an “as if” loop, and an unmediated resonance model. (shrink)

Francois Recanati presents the basic features of the *indexical model* of mental files, and defends it against several interrelated objections. According to this model, mental files refer to objects in a way that is analogous to that of indexicals in language: a file refers to an object in virtue of a contextual relation between them. For instance, perception and attention provide the basis for demonstrative files. Several objections, some of them from David Papineau, concern the possibility of files (...) to preserve and add information about objects across contexts. How is it possible to think about the same object when the subject no longer is in the original context? How is it possible to think of a perceived object as already known? Can this be done without an explicit identity judgment? Recanati answers these questions by invoking mental files of non-basic kinds and by describing the cognitive dynamics in which they take part. (shrink)

This chapter explores the notion of an authentic affective life by examining three models of Heideggerian authenticity in light of his remarks on emotion. In addition to the familiar “decisionist model,” the chapter examines what I call the “standpoint model” and the “all things considered judgment model”. Each of these models suggests a distinctive picture of what authenticity in one’s affective life might be, and considering the plausibility of these pictures provides an interesting way to re-consider the (...) plausibility of those models. The chapter argues that authentic affect as the decisionist model understands it requires a level of control over our emotions that is inherently implausible and incompatible with Heidegger’s understanding of them, and that the standpoint model’s understanding of authentic affect requires a uniformity in our emotions which should be rejected on the same grounds. Ultimately, the chapter argues in favor of the AJM on the grounds that its picture of affective authenticity—an openness to the many ways in which my situation matters to me, touches me and moves me whether I like it or not—is both truer to our actual emotional lives and more harmonious with Heidegger’s own understanding of these matters. (shrink)

Some simulationists have argued that the information obtained during the perceptual process of facial expression (the geometric features) is sufficient for recognition of the emotion intended by that expression. Drawing on evidence from cross-cultural studies, with particular attention to conceptual act theories, I show that both emotion expression and recognition are top-down modulated by expressivity norms, observer-specific internal representations, and expectations. I thus conclude that direct simulation, or a purely bottom-up approach, is not sufficient for emotion recognition. Next, I (...) will consider the generate and test strategy as an alternative to direct simulation. This is a highly promising approach in that top-down and bottom-up processes work in parallel, according to the presence, or not, of additional information. For this reason, it avoids the difficulties of direct simulation. I will argue, however, that it is based on a misconception of emotions, specifically on how emotions are represented in the brain. To improve the model, I distinguish between two different categorical approaches to emotions, then argue that only one of which is viable in a simulational account of emotion recognition. (shrink)