Examining the literature on Aristotelian psychology can leave one with the impression that his theory of perception and emotion is credible primarily because it accords with contemporary functionalism, a physicalist theory that has achieved orthodoxy in contemporary philosophy of mind. In my view, squeezing Aristotle into a functionalist mold is a mistake, for functionalism entaiIs at least two theses that Aristotle would reject: (1) that material types make no essential difference to perception and emotion (and to mental states in general), (...) and (2) that mental states are reducible to functional states of matter (a reductionism of the token-specific sort). Against these functionalist theses, Aristotle would include within his analysis of human perception and emotion (and other psychological activities) the biological material and the characteristic operations associated with it. Although Aristotle would insist that this biological material makes an essential difference to conscious experience, conscious experience is not reducible to its biological basis. I defend the positions that Aristotle’s philosophy of perception and emotion is not compatible with contemporary functionalism and that conscious experience of perception and emotion is irreducible to its essential biological basis. (shrink)

Publishers love titles that begin How or Why. Better still, How and Why, combining edification with utility. The target group is that overlap between the self-help audience and the idly curious—which is to say, most of us. And since emotions are very much about self-help and self-harm, they offer rich pickings in a burgeoning market. Flanagan's How to Do things with Emotions is a philosopher's take on moral emotions, the allusion to J. L. Austin's How to Do (...) Things with Words chiming with the self-help milieu. Reviewing cases, Flanagan points out that most scientific work in this field derives from experiments on psychology students, about as unrepresentative a slice of humanity as you could find. For Flanagan, they are too WEIRD (Western, Educated, Industrialized, Rich, Democratic) to tell us much about the non-weird majority. To learn to “do emotions better,” he argues, we have to look farther afield. Although the emotional lives of cultural others are surely different from those taking Psychology 101, at some functional level they might be similar. Work out the conceptual logic and practical rationale of culturally elaborated emotions—Minangkabau “shame,” Ifaluk “righteous anger,” American “road rage”—and there is scope for comparison. Indeed, anthropology has shown as much, and it is from anthropology that Flanagan takes his cues. To mention two famous cases, what can we learn about anger management from Utku igloo-dwellers and Ilongot headhunters? Mutually dependent for survival in their snowy isolation, the Utku cannot risk getting angry. (They mercilessly tease their children into learning the futility of anger.) In the jungles of Luzon, Ilongot youths cast away their anger in externally directed violence: headhunting as cathartic sport. We can think of parallels closer to home.Flanagan's vigorously argued book, a tour de force of its kind, is both an anatomizing of anger and shame—two moral emotions we tend to “do badly”—and a proposal to “change how we do these emotions.” Indignation is fine, but anger that is vengeful or “pain-passing,” rather than righteous, is irrational and socially harmful. Shame can be incapacitating and cruel (the undeserved burn of a Twitter pile-on). What we need is reflective anger directed at injustice and a “mature sense of shame” that reminds us of the social contract and stops us misbehaving.In its How-and-Why format, the book combines theory and practice, metaethics with moralism. Here is how a prof should do self-help. But if the diagnosis is well made, the remedy is hard to imagine. As Flanagan recognizes, moral sentiments and practices are embedded in intricate forms of life and not readily detachable. Anger Utku-style is not a transferable skill, nor are educative routines forged in social ecologies remote from our own. Lacking serviceable models, Flanagan falls back on the anthropological justification that knowledge of cultural diversity expands our sense of human possibility, of other roads taken. In a globalizing world, difference is its own reward. For me, an anthropologist, that maxim is enough. Yet difference bedevils comparison, jinxing the units, warping criteria. Most languages lack a word for emotion or an equivalent umbrella concept; nor do emotion words translate well across languages. Emotion may be an incoherent notion, or at best a heuristic.Flanagan's use of the WEIRD tag makes things a bit too easy. Does it cover farmhands and factory workers? Are we so democratic, anyway? More damagingly, a typological approach blurs the circumstances of family, community, and biography that define an emotional episode and shape its phenomenology, the way it is felt and experienced—what a violent outburst or fearful exit means in the context of a life. Take Joseph Conrad's Lord Jim, who flees a scene of failure and derails his life. It requires a long narrative to unravel the implications of his jumping ship and the paralyzing shame he experiences before the judgment of society. Or consider the scene in Anna Karenina in which the dignified and self-important Karenin, apprised of Anna's adulterous liaison, agonizes over the threat to his existence. To call his response jealousy would not scratch the surface. Characteristically for Tolstoy, the emotions go unnamed. Instead, we witness Karenin's fervid deliberations (emotions involve thoughts), vacillations (emotions have action tendencies), anguished calculations of impending scandal (emotions are appraisals), and bodily changes (emotions are cognized feelings). We shudder at the brutal metaphors through which he grasps his predicament and its cure: like rooting out a bad tooth, he decides. That welter of particularities escapes the theorist who needs clear-cut, comparable units, formulaic instances of jealousy or anger. But what are you left with if you omit the details? What would remain of Karenin's existential crisis?The novelist's privileged access to subjectivity is, of course, unavailable to the scientist, but the larger context of plot and character—a history of relations that gives emotional episodes their shape and power—has its analog in the ethnographic domain. Emotions are public as well as private events, their meanings and effects depending on a fit with social reality, a clash of perspectives. In thought and feeling, we are never really alone. All of which suggests that narrative, fictional or nonfictional, can capture the ongoing moment in a way that eludes other methods. If what we are after is living emotion, it is the movie, not the snapshot, that surely matters. No point in comparing “emotions” no one ever really experienced outside of an experiment.But there's the rub. In generalization—the goal of emotion theory—an emotion's social meaning, personal significance, pragmatic function, and narrative context get stripped out. All that makes it what it is! Even in doggedly empirical anthropology, detailed emotional episodes are rare (Jean Briggs's Utku ethnography Never in Anger, published in 1970, is still unsurpassed). Instead we get recollections and summary examples, lacking the constitutive detail, real-time evolutions, and consequences of the real thing. Yet these must serve for comparison, fodder for countless theoretical speculations. Are we at risk of analyzing faux emotions and building theories on cardboard constructions?An empty Arctic stage, a handful of characters, life simplified to survival: Briggs is a hard act to follow. Bare life does not make for basic emotions. On the white set, emotions prove hard to parse. That gruff hesitation, that flashing glint—are they tokens of anger? Empathy will not suffice. As Briggs shows, narrative context is all. And in our more cluttered emotional worlds, the value of backstory, interwoven biographies, and emotional plots is all the greater. Flanagan is right; we must do emotions better. (shrink)

The paper provides an analysis of the impact of negative emotions on decision-making processes. It questions the common-sense view that negative emotions diminish rationality of decisions, i.e., increase the probability of making suboptimal choices. It is argued in the paper that this view is untenable on the grounds of neuroscience, cognitive science and evolutionary theory: the results provided by these sciences support the view that negative emotions in most instances of their occurrence, i.e. types of negative (...) class='Hi'>emotions, not only fail to undermine rationality of decision-making but substantially contribute to it. This does mean saying that token-negative emotions never undermine rationality of decision-making. But, as is argued in the paper, the fact that token-negative emotions may have sometimes this kind of negative effect is fully consistent with the claim that, as a rule, the effect is positive, so that one can speak about the causal connection between types of negative emotion and rational decision-making. (shrink)

Many accounts of collective intentionality target rather sophisticated types of cooperative activities, i.e., activities with complex goals that require prior planning and various coordinating and organizing roles. But although joint action is of obvious importance, an investigation of collective intentionality should not merely focus on the question of how we can share agentive intentions. We can act and do things together, but it is not obvious that the awe felt and shared by a group of Egyptologists when they gain entry (...) to a newly discovered pharaonic tomb can or should be analyzed in the same way as, say, a heist that a group of criminals carefully plan and execute together. The aim of the article is to better understand the kind of emotional sharing that can occur between two individuals who are perceptually co-present. Does the sharing involve a kind of phenomenal fusion? Is it a matter of sharing one and the same token experience? It will be argued that both of these recent suggestions must be rejected as misleading in favor of an account that sees emotional sharing as a form of emotional integration that involves constitutively interdependent processes of empathy, second-personal address, and identification. (shrink)

In the first part of the article, an account of moral judgment in terms of emotional dispositions is given. This account provides an expressivist explanation of three important features of moral demands: inescapability, authority independence and meriting. In the second part of the article, some ideas initially put forward by Christopher Boehm are developed and modified in order to provide a hypothesis about the evolution of the ability to token moral judgments. This hypothesis makes evolutionary sense of inescapability, authority (...) independence and meriting. It does so by referring to the selection pressures generated in the Late Pleistocene by large-game hunting. If the hypothesis is correct, we can say that, in a sense, meat made us moral. (shrink)

Sounds like h-nmm, hh-aaaah, hn-hn, unkay, nyeah, ummum, uuh, um-hm-uh-hm, um and uh-huh occur frequently in American English conversation but have thus far escaped systematic study. This article reports a study of both the forms and functions of such tokens in a corpus of American English conversations. These sounds appear not to be lexical, in that they are productively generated rather than finite in number, and in that the sound–meaning mapping is compositional rather than arbitrary. This implies that English bears (...) within it a small specialized sub-language which follows different rules from the language as a whole. The functions supported by this sub-language complement those of main-channel English; they include low-overhead control of turn-taking, negotiation of agreement, signaling of recognition and comprehension, management of interpersonal relations such as control and affiliation, and the expression of emotion, attitude, and affect. (shrink)

Despite contemporary moral philosophers' renewed attention to the moral significance of emotions, the attitudinal repertoire with which they equip the mature moral agent remains stunted. One attitude moral philosophers neglect (if not disown) is contempt. While acknowledging the nastiness of contempt, I here correct the neglect by providing an account of the moral psychology of contempt. In the process, I defend the moral propriety of certain tokens of properly person-focused contempt against some prominent objections -- among them, objections stemming (...) from Kantian worries that contempt is incompatible with the respect we owe to persons as such. (shrink)

Sounds like h-nmm, hh-aaaah, hn-hn, unkay, nyeah, ummum, uuh, um-hm-uh-hm, um and uh-huh occur frequently in American English conversation but have thus far escaped systematic study. This article reports a study of both the forms and functions of such tokens in a corpus of American English conversations. These sounds appear not to be lexical, in that they are productively generated rather than finite in number, and in that the sound¿meaning mapping is compositional rather than arbitrary. This implies that English bears (...) within it a small specialized sub-language which follows different rules from the language as a whole. The functions supported by this sub-language complement those of main-channel English; they include low-overhead control of turn-taking, negotiation of agreement, signaling of recognition and comprehension, management of interpersonal relations such as control and affiliation, and the expression of emotion, attitude, and affect. (shrink)

Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic judgements may be unreasoned, (...) insofar as they are immediate judgements made on the basis of, and acquiring their justification from, causally prior sensory states. Yet they may also be reasoned, insofar as they may be the outputs of certain inferences. Crucially, a token aesthetic judgement may be unreasoned and reasoned, simultaneously. A key reason for allowing inference a serious role in aesthetic judgements emerges from reflection upon the nature of aesthetic expertise. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such as (...) Cleanth Brooks, a doyen of the New Critics, who insisted that edification was the function of religion but not of poetry. 1 George Orwell, though himself a didactic novelist, was of this view as well, 2 and it is one that most critics adopt when the issue is censorship. I accept Wilde’s thesis—the creed of aestheticism, of art for art’s sake—if understood to mean that the moral content and consequences of a work of literature are irrelevant to its value as literature; or as the critic Helen Vendler has put it, that “treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.” 3 This is not to deny that reading can have consequences, including moral and political ones. Information affects people’s outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Think of the role that novels by Turgenev (Fathers and Sons), Dostoevsky (The Possessed), Conrad (The Secret Agent, Under Western Eyes), Koestler (Darkness at Noon), Orwell (Animal Farm, Nineteen Eighty-Four), and, of course, Solzhenitsyn played in exposing the horrors of anarchism and communism. Of A Passage to India it has been said that “as an account of the social conditions of British India it was powerful enough to have influenced events.” 4 Upton Sinclair’s novel The Jungle is thought to have incited federal regulation of food processing; and few doubt the effect of Uncle Tom’s Cabin (1852) on the abolitionist cause. [End Page 1]At the core of the aesthetic tradition, which I shall be defending in this essay particularly against its opponents in the “law and literature” movement, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of the information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be put off by morally offensive views encountered in literature even when the author appears to share them. A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors’ moral qualities or opinions should not affect our valuations of their works.The insistence, in short, is on the separation of the moral from the aesthetic—but with two qualifications. Some literature has little interest or value apart from the didactic and for it the proper criticism is didactic. And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere—in short, the values of liberal individualism.The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, of the ethical or political content and effects of works of literature, and less commonly of the author’s own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. 5 Reading novels, she argues, “develops moral capacities without which citizens will not succeed in making reality out of the normative conclusions of any moral or political theory, however excellent.” 6 Wayne Booth, disagreeing with his illustrious... (shrink)

Taxonomies of the passions have long claimed to serve a quest for self-knowledge, by specifying conditions under which certain passions arise, formal objects they possess, and qualities essential to their particular feelings. I argue that David Hume's theory of the passions provides resources for a different kind of self-knowledge – a sceptical self-knowledge depending on our ability to articulate how the passions feel rather than always identifying our passions as tokens of an identifiable passion-type. These resources are distinctions between four (...) qualitative aspects that passions may possess – pleasantness or painfulness, calmness or violence, invigoration or softening, and directedness or lack thereof towards specific actions. Reflection on these aspects produces a more accurate understanding of the nature of our emotions and chastens our judgmental tendencies in ways that benefit both self and others. (shrink)

Different versions of moral projectivism are delineated: minimal, metaphysical, nihilistic, and noncognitivist. Minimal projectivism (the focus of this paper) is the conjunction of two subtheses: (1) that we experience morality as an objective aspect of the world and (2) that this experience has its origin in an affective attitude (e.g., an emotion) rather than in perceptual faculties. Both are empirical claims and must be tested as such. This paper does not offer ideas on any specific test procedures, but rather undertakes (...) the important preliminary task of clarifying the content of these subtheses (e.g., what is meant by "objective"? what is meant by "experience"?). Finally, attention is given to the relation between (a) acknowledging that the projectivist account might be true of a token moral judgment and (b) maintaining moral projectivism to be true as a general thesis. (shrink)

Subtitle: "Experiential understanding and the impossibility of intrinsically valuing suffering." Suffering, I argue, is bad. This paper supports that claim by defending a somewhat bolder-sounding one: namely that if anyone—even a sadistic ‘amoralist’—fully understands the fact that someone else is suffering, then the only evaluative attitude they can possibly form towards the person’s suffering as such is that of being _intrinsically against_ it. I first argue that, necessarily, everyone is disposed to be intrinsically against their _own_ suffering experiences, holding fixed (...) their specific overall degree of emotional aversiveness, because any evaluative attitude other than ‘being against’—including mere indifference—would in certain key circumstances make our suffering less emotionally aversive and thus different from the suffering experience (stipulatively) at issue. Second, fully understanding that someone else is having a given experience—Mary’s experiencing a vividly blue sky, say, or Job’s experiencing heart-rending grief—requires that we represent _experientially_ their very instance of that experience-type (it requires, in other words, token phenomenal concepts). The result is that what goes for our own suffering goes for others’, too: maintaining an accurate experiential representation of the fact that someone else is having a suffering experience with a specific degree of overall emotional aversiveness is only compatible with coming to be intrinsically against their suffering. So suffering is—‘objectively’—bad: it’s only possible to respond with indifference towards anyone’s suffering if we don’t fully understand that they are suffering in the first place. (shrink)

Instead of wondering about the nature of robots, as if our thinking about humans was stable and straightforward, we should dig deeper in thinking about how we think about humans. Indeed, the emotions embedded in the ethical approaches to robots and artificial intelligence, are rooted in a long tradition of thinking about humans, either in an instrumental or in a pseudo-divine way. Both perspectives miss humanness, and are misleading when it comes to thinking about robots and their relationships with (...) humans. With the instrumental way to grasp humanness, humans are seen as machines and, by the same token, robots can easily be seen as human, as a matter of fact. With the quasi-divine way to grasp humanness, humans are seen as aspiring omniscient-omnipotent creatures and, by the same token, robots are projected to be, what men will always fail to become. Hence, our way to think about robots is mirroring our way to think about humans…as long as we hold rationality as a distinctive criteria for humanness. The text below flows from a TEDxULB talk that took place in Brussels on May 4, 2016. It calls for leaving behind the rational subject as proxy for humanness, and embracing instead the figure of the relational self. The relational self is rooted in the Arendtian concept of plurality. Embracing the relational self, instead of the rational subject, has several advantages: it allows to distinguish humans from artefacts; it allows to grasp the dynamics between control, orientation, and recognition and to understand how human freedom flows from this dynamics; it opens to the foregrounding of vulnerability, as a shared characteristic of humanness, instead of as a defect touching only some; last, and surely not least, it points to a new form of vulnerability: that of our attentional spheres, whose protection may deserve a new fundamental right, in order to ensure our integrity, besides and beyond body and home. (shrink)

It is commonplace, in philosophy and in everyday life, to think that suffering, understood as a kind of negative affective experience, is bad. Nevertheless, the case can be made that suffering, in certain instances and circumstances, has considerable value. Indeed, it seems plausible that we would be considerably worse off if we didn’t experience things like pain and remorse, hunger and shame. Those who are insensitive to pain don’t live very long, after all. And those who are incapable of feeling (...) negative emotions such as guilt and shame will find it very difficult to form and function in social relationships that are central to a happy life. By the same token, we think that we ought to experience other negative emotions: we ought to grieve when a loved one dies, and that despair is appropriate when our dreams are shattered. Reflection on these cases might incline us to the view that suffering is not always and everywhere bad, but can in many instances be good. In this paper I want to extend this positive perspective on the value of suffering, by examining the idea that suffering is necessary for wisdom. (shrink)

1. The most important aspect of touch is its relation to time and space, a relation which is established by the movement of touching itself. Referring to the ideas of E. Straus, the distinction between touching and being touched is elaborated in light of experiments done by us with animals. 2. Touching is: being in one's own limits and at the same time going beyond these limits, a situation in which the touched object is felt at the same time as (...) a "Gegenstand" and as "Mit-seiend." "Pour le tactile, c'est l'être à deux qui se place au premier rang" . The awareness of being by the sense of touch is particularly poignant in the case of touching oneself, which is an exceptional unity of the active and the passive state of mind. 3. The tactile recognition of form also presents a dialectic of activity and passivity, a dialectic which takes place in the form of a development which conquers time, and this after a scheme produced during the act of grasping itself. We refer to the studies of V. von Weizsäcker on the "Gestaltkreis." We must also remember the basic restlessness of the hand, which becomes lasting in the play of the hand with an object. 4. The hand can hold an object. In doing so a schematic tactile image is given, an image which functions as a hypothesis or as an organizing principle of the proleptic development of further tactile exploration. The phenomenological analysis of touch with the hand appears as a prefiguration of thought by synthetic judgments. Thus, it is true, as Herder remarked, and as Gold-stein and Merleau-Ponty confirmed, that perception by man and spiritual existence are identical. 5. Referring to the research of Révèsz and Palagyi, the real nature of the tactile world is anlyzed. Tactile exploration is done according to a real development, during which take place anticipatory and retrospective determinations which assure the continuity of the event and its meaning. Tactile perception permits description of the continuous unity of the discontinuous phases which we can state objectively "as if" expectation and memory, preliminary judgments and their checking, conceptual fixations and corrections had been put to work. 6. Important is the affective and emotional aspect of tactile impressions and their connection with inter-human relationships. 7. By touch, man establishes in a "feeling" way a personal relationship with the matter of things, which is hidden to the distance senses. This participation has a double aspect. It is like the birth of a "mood," of a "Befindlichkeit," but at the same time it is the active point of departure of a "feeling," of an "understanding," of an "inner grasp," of a being moved, of a being struck by the touched object which is then in our presence as a real "quale," as a material object, as a being in itself. We remember the proper nature of the caress, by which the "being together" of the caressed object complements that of the active caresser. The usual concepts by means of which, in practical and gnostic life, the most important tactile qualities are indicated intend to refer us to the characteristics of the things which take up space in the geometric world and in objectively measurable space, and on which is founded our natural orientation. We remember von Hornborstel's research on the intermodal characteristics of tactile impressions. These show us how a "knowledge" which accompanies perception can change an impression of feeling. The affective relationship, determined by a shaded "knowledge" and by a system of values, changes tangible reality, the substantiality of the body, of the "flesh." This affective change of matter, this "phenomenal transsubstantiation," easily becomes a reality in connection with objects of which we know that they belong or did belong to someone. The meaning which a thing has changes the matter of the object, an object which precisely by the touch is present "in the flesh." This is illustrated more precisely by the phenomena of fetishism, and by simple experiences of daily life. If we look for an anthropological point of view from which touch, of which the hand realizes the point of view will have to be attempted starting from the unimaginable certitude that the ontological unity of nature and spirit is in man the reality of a possible participation, a participation which, in our existence, is only indicated. The "restlessness" of the hand, never fulfilled and always searching, which we noted, is the human token of our concrete existence. Thus touch shows us what Valery remarked about the mind: "The mind is at the mercy of the body, as the blind are at the mercy of the seeing.". (shrink)

The purpose of this paper is to compare disagreement in two different WhatsApp groups: one for members of the same family, and another for work colleagues. After the analysis, 427 instances of disagreement were identified in the family group, and 161 in the interactions between work colleagues. The most common strategy in both corpora is ‘Giving opposite opinions’. Nevertheless, the rest of the results present very significant dissimilarities, most notably the higher presence of disagreement in the family WhatsApp group. This (...) higher tolerance for disagreement is corroborated by the choice of linguistic strategies made. Whereas the family members tended to give emotional or personal reasons for disagreement, as well as negative comments on the topic, the colleagues preferred to express their disagreement with mitigating expressions and token agreement. Thus, in the corpora studied, the expression of disagreement seems to be less face threatening for family members than for work colleagues. (shrink)

Sentiment analysis is the field of natural language processing to analyze opinionated data, for the purpose of decision making. An opinion is a statement about a subject which expresses the sentiments as well as the emotions of the opinion makers on the topic. In this paper, we develop a sentiment analysis tool namely SENTI-METER. This tool estimates the success rate of social campaigns based on the algorithms we developed that analyze the sentiment of word as well as blog. Social (...) campaigns have a huge impact on the mindset of people. One such campaign was launched in India on October 2, 2014, named Swachh Bharat Abhiyan. Our tool computes an elaborated analysis of Swachh Bharat Abhiyan, which examines the success rate of this social campaign. Here, we performed the location-wise analysis of the campaign and predict the degree of polarity of tweets along with the monthly and weekly analysis of the tweets. The experiments were conducted in five phases namely extraction and preprocessing of tweets, tokenization, sentiment evaluation of a line, sentiment evaluation of a blog and analysis. Our tool is also capable of handling transliterated words. Unbiased tweets were extracted from Twitter related to this specific campaign, and on comparing with manual tagging we were able to achieve 84.47 % accuracy using unigram machine learning approach. This approach helps the government to implement the social campaigns effectively for the betterment of the society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Protest Vaclav Havel Stanek's ground-floorstudy in his house on the outskirts of Prague. The house is surroundedby a garden. Doorbell.The front dooris opened. STANEK: (Loud,cordial.) Vanek!-Hello! (Thefront dooris closed.) VANEK: (Noncommittal.) Hello, Mr. StanekSTANEK : Come in, come in! (Pause.Sudden outburstof emotion.) Vanek! My dear fellow! (Pause.Conversationally.)Did you have trouble finding it? VANEK: Not reallySTANEK : Forgot to mention the flowering magnolias. That's how you know it's my house. (...) Superb, aren't they? VANEK: YesSTANEK : I managed to double their blossoms in less than three years, compared to the previous owner. Have you magnolias in your garden? VANEK: NoSTANEK : You must have them! I'm going to find you two quality saplings and I'll come and plant them for you personally. (Crosses to the bar.) How about some brandy? VANEK: I'd rather not, Mr. Stanek, if you don't mindSTANEK : Come on, Vanek! Just a token one. Eh? @ 1978 Copyright by Vaclav Havel; Translation @ 1984 Copyright by Vera Blackwell. CAUTION: No performances or readings of this work may be given without the express authorization of the author or the author's agent. For production rights, contact: Sanford J. Greenburger Associates, 825 Third Avenue, New York, N.Y. 10022. 45 (Two drinks arepoured.) VANEK: (Sighs.) STANEK: Here we are. Well-here's to our reunion! VANEK: Cheers- (Both drink.) VANEK: (Shuddersslightly. Emits a soft groan.) STANEK: I was afraid you weren't going to come. VANEK: Why? STANEK: Well, I mean, things got mixed up in an odd sort of way-What? -Won't you sit down? VANEK: (Sitsdown in an armchair,placinghis briefcase on the floorbeside him.) ThanksSTANEK : (Sinksinto anarmchairopposite Vanek witha sigh.) That'smore like it! Peanuts? VANEK: No, thanksSTANEK : (Helps himself Munching) You haven't changed much in all these years, you know? VANEK: Neither have youSTANEK : Me? Come on! Getting on for fifty, going gray, aches and pains setting in-Not as we used to be, eh? And the present times don't make one feel any better either, what? When did we see each other last, actually? VANEK: I don't knowSTANEK : Wasn't it at your last opening night? VANEK: Could beSTANEK : Seems like another age! We had a bit of an argumentVANEK : Did we? STANEK: You took me to task for my illusions and my over-optimism. Good Lord! How often since then I've had to admit to myself you were right! Of course, in those days I still believed that in spite of everything some of the ideals of my youth could be salvaged and I took you for an incorrigible pessimist. VANEK: But I'm not a pessimistSTANEK : You see, everything's turned around! (Shortpause.) Are youalone? VANEK: How do you mean, alone? STANEK: Well, isn't there somebody-you knowVANEK : Following me? STANEK: Not that I care! After all, it was me who rang you up, right? VANEK: I haven't noticed anybody46 STANEK: By the way, suppose you want to shake them off one of these days, you know the best place to do it? VANEK: NoSTANEK : A department store. You mingle with the.crowd, then at a moment when they aren't looking you sneak into the loo and wait there for about two hours. They become convinced you managed to slip out through a side entrance and they give up. You must try it sometime! VANEK:.(Pause.) Seems very peaceful hereSTANEK : That's why we moved here. It was simply impossible to go on writing near that railway station! We've been here three years, you know. Of course, my greatest joy is the garden. I'll show you around later-I'm afraid I'm going to boast a littleVANEK : You do the gardening yourself? STANEK: It's become my greatest private passion these days. Keep puttering about there almost every day. Just now I've been rejuvenating the apricots. Developed my own method, you see, based on a mixture of natural and artificial fertilizers plus a special way of waxless grafting. You won't believe the results I get! I'll find some cuttings for you later on- (Opensalarge silverbox oncoffee table between them.) Would... (shrink)

Environmentality teases out the multilayered human-environment contacts and connections in terms of human agency and governmentality, ecological objects and their (in)dependence, power/knowledge and environmental (in)justice. “Sustainable Development Goals” recognize that ending poverty and other deprivations must go hand-in-hand with strategies that improve health and education, reduce inequality, and spur economic growth – all while tackling climate change and working to preserve our environment. This paper outlines the scopes, scales, and methods of Chinese storytelling and multimedia exhibitions on deforestation and afforestation, (...) pollution and purification, and wastelands and eco-systems in industrial, de-industrial, and post-industrial times. The author considers short stories, novellas, novels, reportages, nonfiction writings, and visual artworks, with specific focus on trees, forests, and plant writing. By reading Kong Jiesheng’s “Forest Primeval,” Ah Cheng’s “King of Trees,” Xu Gang’s Loggers, Wake Up!, Yan Lianke’s Garden No. 711: The Ultimate Last Memo of Beijing, and Chen Yingsong’s The Forest Is Silent, the author aims to bring to light the awakening and formation of Chinese ecological consciousness, the token of marred humanity and ecocritical reflection, the manifestation of biophilia-biophobia experiences, as well as the structural transformation of private feelings and public emotions in modern and contemporary China. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Community of “Neighbors”:A Baptist-Buddhist Reflects on the Common Ground of LoveJan WillisToday we are all aware that the concept of “race” is a mere construction. There is only one “race”: the human race; to think otherwise is like still believing that the earth is flat. But “racism” is a different matter. It exists as a system of beliefs and prejudices that people differ along biological and genetic lines and (...) that one’s own group is superior to another group. When these beliefs and prejudices are coupled with power—especially the power to negatively affect the lives of those perceived to be inferior—we have a serious problem. And no one should downplay or underestimate the harm that such an ideology inflicts upon everyone who participates in it. According to one African American professor of social work, “America’s history is inextricably bound to this racist ideology. From the codifying of slavery, to the belief in ‘Manifest Destiny,’ to the treatment of ‘illegal immigrants,’ many of America’s actions continue to conflict with its creed that ‘All men are created equal.’”1Over the past decade or so, I have written a number of pieces that focus upon racism in America and racism in so-called American Buddhism.2 Being African American myself, my reasons for this focus may perhaps be clear though not necessarily inevitable. I have written on a number of other topics: Buddhist philosophical discourses and life stories of Buddhist “saints,” for example. In my writings on racism, I have tried to communicate something of the emotional and psychic toll it takes to live in this country as a person of color. In a number of these writings, I have called myself a “Baptist-Buddhist,” and thus this is also one of my “dual belongings,” one of my “multiple identities.”When I speak of racism, I am not concerned with garnering pity, or playing the “race card” of guilt, or telling you, from some assumed position of superiority on the matter, that there is simply no way for you to understand this toll. I certainly cannot speak for all African Americans, or even for most of them. Early on in the process of writing this paper, I emailed Jung and Paul to say that I found the title of the panel both much too broad and much too narrow. “Too broad” because one person cannot possibly channel and/or verbalize the countless instances of suffering endured by African Americans (and more broadly, by persons of color) throughout space and over centuries in this country owing to slavery and its aftermath. And “too narrow” [End Page 97] because, ultimately, we want to do more than just rehash our many sufferings. We don’t want to wallow in victimhood. We want to move on—from the recognition of that immense suffering, seen and unseen—and to go out into the world and act to bring about social, economic, and ecological justice. That’s what we are called upon to do: to form a new community wherein there is compassion and caring for one another, where there is love and peace, nonviolence, reconciliation, and justice.So, even though I am quite frankly tired—as are so many people of color—of being the “token” African American who can add visible “diversity” to a group in order to show that it is now more “inclusive” than before, nevertheless, in this so-called postracial society where we have a black president and the demographic of “person of color” now comprises an actual majority of the United States’ population, I must still rise to say that, sadly, racism is not dead in this country! Its painful vestiges exist, and those vestiges are far from being either innocent or unharmful.I truly believe that—for African Americans, in particular—it is the trauma and the legacy of slavery that haunts us in the deepest recesses of our souls. It is hard to imagine what having been bartered and sold as though mere property does to a human being, what being dehumanized, infanticized, and divested of all rights and liberties does to one’s sense of self-worth and well-being. As... (shrink)

Those who live in retirement, whose lives have fallen amid the seclusion of schools and other walled-in and guarded dwellings, are liable to be suddenly and for a long while dropped out of the memory of their friends, the denizens of a freer world … there falls a stilly pause, a wordless silence, a long blank of oblivion. Unbroken always is this blank, alike entire and unexplained. The letter, the message once frequent, are cut off, the visit, formerly periodical, ceases (...) to occur; the book, paper, or other token that indicates remembrance, comes no more. Always there are excellent reasons for these lapses if the hermit but knew them. Though he is stagnant in his cell, his connections without are whorling in the very vortex of life … The hermit – if he be a sensible hermit – will swallow his own thoughts, and lock up his own emotions during these weeks of inward winter… (Charlotte Brontë, Villette, 1979: 348). (shrink)

The female body whether it be child or woman has in the past and in the present struggled for human equality on multiple levels. There have of course been changes but the socio-political boundaries still shift this way and that under the weight of unequal power relations between genders within the ever unfolding fields of patriarchy. Sometimes it seems there are moments of clarity of achieved equality but more often than not the reality is hidden under a pseudo agenda of (...) token offerings. This is a battle that continues within the fields of economics, politics and the language that defines the status quo of the feminine. Feminist liberation theologies as we know begin with the experience of women and as women expand their experience and education through the worlds of politics, economics in academia, the church and other institutions so does the awareness of their subjugation to heteronormative values both past and present. Art has a way of expressing something that the word cannot, this is the language of feeling and emotion. Emotions and feelings have been historically allocated materially to women as a chaotic assemblage that does not fit into the rational world of men. I argue that feminist art describes powerfully the effect patriarchal power has had over female bodies through both personal and collective experiences and that is without doubt a political matter. (shrink)

A review of advertisement studies shows that there has been little attempt to examine infomercials in terms of rhetorical appeals and persuasive strategies. Therefore, this study sought to contribute to the existing literature by exploring the persuasive elements of Apple infomercials through Aristotle’s modes of persuasion to reveal the most frequent persuasive language features and structures and to study how such elements were utilized to promote the products and services of the company. A top-down approach based on Aristotle’s modes of (...) persuasion was adopted to identify the rhetorical appeals of logos, ethos and pathos as well as the promotional tokens and patterns in the text. The descriptive findings provided evidence to demonstrate that although all the rhetorical proofs were employed in the corpus, emotional appeal was the most dominant. The findings of this research open new horizons for further studies on infomercials in general and persuasive rhetoric in specific. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Ambivalence is often presented through cases of defeated ambivalence and multivalence, in which opposed attitudes suggest mutual isolation and defeat each other. Properly understood, however, ambivalence implies the existence of poles that are conflictually yet rationally interlinked and are open to non-defeated joint conduct. This paper considers cases that range from indecisiveness and easy adoption of conflicting attitudes, to tragically conflicted deliberation and to cases of shifting between self-deceptively serious attitudes. Analyzing such cases as variants of defeated ambivalence, I argue (...) that the phenomena of defeated ambivalence are marginal to ambivalence even though they are by the same token exemplary of it. The poles in such cases are connected as opposing attitudes in such a way that the attitudes and the opposition are both undermined. The article focuses on two forms of vague multivalence, one of which is taken from Heidegger’s analysis of curiosity. (shrink)

One of the features of some megacities is the production of a current terror set up on dull, rambling, chaotic and terrifying scenarios. In this sense, the city is machinery torturing human bodies and bringing them under a regular condition administered by imaginaries which do not always coincide with reality but determine thoughts, emotions and behaviors that are crystallized on an urban rhetoric. This article aims to contrast an imaginary dangerous city that generates a peculiar dynamism of Bogota and (...) list some immediate token effects on communication of its inhabitants. (shrink)

Der Vielfalt religiöser Emotionen liegt eine formale Einheit zu Grunde, deren semantischer Gehalt als das religiöse Grundgefühl der Selbsttranszendenz aufgefasst werden kann. Das religiöse Grundgefühl wird als Type verstanden, Ausdrücke für konkrete Emotionen entstammen den verschiedenen Religionskulturen. Diese Ausdrücke erscheinen logisch als Tokens, als Instanziierungen dieses gemeinsamen semantischen Gehalts. Der semantische Gehalt religiöser Emotionen kann interkulturell verständlich mittels Natural Semantic Metalanguage expliziert werden.

In this book, Linda Wetzel examines the distinction between types and tokens and argues that types exist (as abstract objects, since they lack a unique ...

The distinction between a type and its tokens is a useful metaphysical distinction. In §1 it is explained what it is, and what it is not. Its importance and wide applicability in linguistics, philosophy, science and everyday life are briefly surveyed in §2. Whether types are universals is discussed in §3. §4 discusses some other suggestions for what types are, both generally and specifically. Is a type the sets of its tokens? What exactly is a word, a symphony, a species? (...) §5 asks what a token is. §6 considers the relation between types and their tokens. Do the type and all its tokens share the same properties? Must all the tokens be alike in some or all respects? §7 explains some problems for the view that types exist, and some problems for the view that they don't. §8 elucidates a distinction often confused with the type-token distinction, that between a type (or token) and an occurrence of it. It also discusses some problems that occurrences might be thought to give rise to, and one way to resolve them. (shrink)

Linguistic anthropologists have studied emotion in societies around the world for several decades. This article defines the discipline, introduces its general relevance to emotion theory, then presents five of the most important contributions linguistic anthropology has made to the study of emotion.

The distinction between a type and its tokens is auseful metaphysical distinction. In §1 it is explained what itis, and what it is not. Its importance and wide applicability inlinguistics, philosophy, science and everyday life are brieflysurveyed in §2. Whether types are universals is discussed in§3. §4 discusses some other suggestions for what types are,both generally and specifically. Is a type the sets of its tokens?What exactly is a word, a symphony, a species? §5 asks what atoken is. §6 considers (...) the relation between types and theirtokens. Do the type and all its tokens share the same properties? Mustall the tokens be alike in some or all respects? §7 explains someproblems for the view that types exist, and some problems for the viewthat they don’t. §8 elucidates a distinction often confused withthe type-token distinction, that between a type and anoccurrence of it. It also discusses some problems thatoccurrences might be thought to give rise to, and one way to resolvethem. (shrink)

The classical rule of Repetition says that if you take any sentence as a premise, and repeat it as a conclusion, you have a valid argument. It's a very basic rule of logic, and many other rules depend on the guarantee that repeating a sentence, or really, any expression, guarantees sameness of referent, or semantic value. However, Repetition fails for token-reflexive expressions. In this paper, I offer three ways that one might replace Repetition, and still keep an interesting notion (...) of validity. Each is a fine way to go for certain purposes, but I argue that one in particular is to be preferred by the semanticist who thinks that there are token-reflexive expressions in natural languages. (shrink)

In the past two to three decades health behavior scientists have increasingly emphasized affect-related concepts in their attempts to understand and facilitate change in important health behaviors, such as smoking, eating, physical activity, substance abuse, and sex. This article provides a narrative review of this burgeoning literature, including relevant theory and research on affective response, incidental affect, affect processing, and affectively charged motivation. An integrative dual-processing framework is presented that suggests pathways through which affect-related concepts may interrelate to influence health (...) behavior. (shrink)

Miranda Fricker maintains that testimonial injustice is a matter of credibility deficit, not excess. In this article, I argue that this restricted characterization of testimonial injustice is too narrow. I introduce a type of identity-prejudicial credibility excess that harms its targets qua knowers and transmitters of knowledge. I show how positive stereotyping and prejudicially inflated credibility assessments contribute to the continued epistemic oppression of marginalized knowers. In particular, I examine harms such as typecasting, compulsory representation, and epistemic exploitation and consider (...) what hearers are obligated to do in response to these injustices. I argue that because epistemic harms to marginalized knowers also arise from prejudicially inflated assessments of their credibility, the virtue of testimonial justice must be revised to remedy them. (shrink)

There are two extant versions of the new tenseless theory of time: the date versionand the token-reflexive version. I ask whether they are equivalent, and if not, whichof them is to be preferred. I argue that they are not equivalent, that the date version isunsatisfactory, and that the token-reflexive version is correct. I defend the token-reflexive version against a string of objections from Quentin Smith. My defence involves a discussion of the ontological and semantic significance of truth (...) conditions, and of the connection between truth and reality on the one hand, and that between truth and meaning on the other. I argue that Smith's objections to the token-reflexive theory stem from his confusing these two aspects of the notion of truth. (shrink)

It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an (...) untenable semantic claim: namely, that the predicates in such sentences, once applied to musical works, undergo a systematic shift in their meanings. This article is a sustained explanation of why our talk about musical works in fact provides no problem for the type/token theorist. First, we demonstrate that the aforementioned “meaning shift” approach to the sentences’ predicates is well motivated and very credible. Second, we explain how the type/token theorist can adopt the best available version of an alternative, generic quantificational approach to such sentences. Third, we establish that other semantic theories, presented as undermining the type/token theory by giving us a reason for adopting eliminativism about types, are much less theoretically virtuous than the two theories that a type/token theorist can freely adopt. (shrink)

Token physicalism is often viewed as a modest and unproblematic physicalist commitment, as contrasted with type physicalism. This paper argues that the prevalence of functional individuation in biology creates serious problems for token physicalism, because the latter requires that biological entities can be individuated physically and without reference to biological functioning. After characterizing the main philosophical roles for token physicalism, I describe the distinctive uses of functional individuation in models of biological processes. I then introduce some requirements (...) on token identity claims that arise from a position on individuation and identity known as sortalism. An examination of biological examples shows that these sortalist requirements cannot be plausibly met due to differences between individuation by functional biological criteria and by physical criteria. Even without assuming sortalism, token physicalism faces the more basic problem of excluding functionally irrelevant detail from the individuation of biological tokens. I close by suggesting that the philosophical roles for token identity are better fulfilled by a notion of token composition, which promotes a hierarchical picture of individuality. (shrink)

Token-reflexivity is commonly understood as reference of a token to a token of which it is a part, proper or not. It may be compared with its familiar formal kin – Gödelian reflexivity. In this paper the possibility of the latter type of construction in a formal setting provides a stark point of contrast with token-reflexivity understood as token self-reference, a purported species of natural phenomena, with the token-reflexives themselves understood as the bearers of (...) self-reference. I argue that there is no token-reflexivity thus understood, and so, no token-reflexives. The case provides a particularly useful background against which to discuss the centrality of conditions of production – as opposed to conditions of consumption – in the study of natural language. (shrink)

John Searle has argued that all perceptual experiences are token-reflexive, in the sense that they are constituents of their own veridicality conditions. Many philosophers have found the kind of token-reflexivity he attributes to experiences, which I will call _causal_ token-reflexivity, unfaithful to perceptual phenomenology. In this paper, I develop an argument for a different sort of token-reflexivity in perceptual (as well as some non- perceptual) experiences, which I will call _temporal_ token-reflexivity, and which ought to (...) be phenomenologically unobjectionable. (shrink)

We defend a functionalist approach to emotion that begins by focusing on emotions as central states with causal connections to behavior and to other cognitive states. The approach brackets the conscious experience of emotion, lists plausible features that emotions exhibit, and argues that alternative schemes are unpromising candidates. We conclude with the benefits of our approach: one can study emotions in animals; one can look in the brain for the implementation of specific features; and one ends up (...) with an architecture of the mind in which emotions are fully accommodated through their relations to the rest of cognition. Our article focuses on arguing for this general approach; as such, it is an essay in the philosophy of emotion rather than in the psychology or neuroscience of emotion. (shrink)

Reichenbachian approaches to indexicality contend that indexicals are "token-reflexives": semantic rules associated with any given indexical-type determine the truth-conditional import of properly produced tokens of that type relative to certain relational properties of those tokens. Such a view may be understood as sharing the main tenets of Kaplan's well-known theory regarding content, or truth-conditions, but differs from it regarding the nature of the linguistic meaning of indexicals and also regarding the bearers of truth-conditional import and truth-conditions. Kaplan has criticized (...) these approaches on different counts, the most damaging of which is that they make impossible a "logic of demonstratives". The reason for this is that the token-reflexive approach entails that not two tokens of the same sentential type including indexicals are guaranteed to have the same truth-conditions. In this paper I rebut this and other criticisms of the Reichenbachian approach. Additionally, I point out that Kaplan's original theory of "true demonstratives" is empirically inadequate, and claim that any modification capable of accurately handling the linguistic data would have similar problems to those attributed to the Reichenbachian approach. This is intended to show that the difficulties, no matter how real, are not caused by idiosincracies of the "token-reflexive" view, but by deep facts about indexicality. (shrink)