Interactions between humans and machines that include artificial intelligence are increasingly common in nearly all areas of life. Meanwhile, AI-products are increasingly endowed with emotional characteristics. That is, they are designed and trained to elicit emotions in humans, to recognize human emotions and, sometimes, to simulate emotions (EAI). The introduction of such systems in our lives is met with some criticism. There is a rather strong intuition that there is something wrong about getting attached to a machine, about having certain (...) emotions towards it, and about getting involved in a kind of affective relationship with it. In this paper, I want to tackle these worries by focusing on the last aspect: in what sense could it be problematic or even wrong to establish an emotional relationship with EAI-systems? I want to show that the justifications for the widespread intuition concerning the problems are not as strong as they seem at first sight. To do so, I discuss three arguments: the argument from self-deception, the argument from lack of mutuality, and the argument from moral negligence. (shrink)

Let F be a fact in virtue of which an agent, S, is blameworthy for performing an act of A-ing. We advance a slightly qualified version of the following thesis: -/- (Reason) F is (at some time) a reason for S to feel guilty (to some extent) for A-ing. -/- Leaving implicit the qualification concerning extent, we claim as well: -/- (Desert) S's having this reason suffices for S’s deserving to feel guilty for A-ing. -/- We also advance (...) a third thesis connecting desert of feeling guilty with the fittingness of this response. -/- In light of our three theses, we address several claims that have been made regarding responsibility and desert. We take issue with the divorce of desert from responsibility. We find acceptable a claim regarding blameworthiness and reason to induce guilt, and we defend the idea that it is noninstrumentally good that one who is blameworthy be subject to a fitting feeling of guilt. We argue against a view on which desert of blame has a teleological dimension. (shrink)

The catastrophe of the eye -- A new view of seeing -- Applying the new view of seeing -- The illusion of seeing everything -- Some contentious points -- Towards consciousness -- Types of consciousness -- Phenomenal consciousness, raw feel, and why they're hard -- Squeeze a sponge, drive a porsche : a sensorimotor account of feel -- Consciously experiencing a feel -- The sensorimotor approach to color -- Sensory substitution -- The localization of touch -- The (...) phenomenality plot -- Consciousness. (shrink)

This article explores the affective dimension of resilient epistemological systems. Specifically, I argue that responsible epistemic practice requires affective engagement with nondominant experiences. To begin, I outline Kristie Dotson's account of epistemological resilience whereby an epistemological system remains stable despite counterevidence or attempts to alter it. Then, I develop an account of affective numbness. As I argue, affective numbness can promote epistemological resilience in at least two ways. First, it can reinforce harmful stereotypes even after these stereotypes have been rationally (...) demystified. To illustrate, I examine the stereotype of Black criminality as it relates to false confessions. Second, it can encourage “epistemic appropriation”, which I demonstrate by examining the appropriation of “intersectionality” and #MeToo by white culture. Finally, I conclude that resisting harmful resilience requires affective resistance, or efforts that target numbness via different kinds of affective engagement. I consider Kantian “disinterestedness” as a candidate. (shrink)

This paper presents insights into the lived experience of maritime carpentry practices, based on six months of sensory-ethnographic fieldwork as a wooden boat builder’s apprentice. In particular, the author explores the widely-reported experience of tools ‘withdrawing’ from consciousness as craftspeople master their use. Without contradicting these interpretations – many of which are constructed by way of reference to ideas from Merleau-Ponty – the author suggests further theoretical resources to examine the perceptual experience of work after tools cease to be the (...) main focus of the craftsperson’s attention. Heidegger’s idea of ‘circumspection’ is presented as a way to illuminate the relational nature of the subsequent mode of perception, in which the work as a whole fills the consciousness, rather than the individual instruments through which the work is achieved. (shrink)

Studies in the behavioral ethics and moral psychology traditions have begun to reveal the important roles of self-related processes that underlie moral behavior. Unfortunately, this research has resulted in two distinct and opposing streams of findings that are usually referred to as moral consistency and moral compensation. Moral consistency research shows that a salient self-concept as a moral person promotes moral behavior. Conversely, moral compensation research reveals that a salient self-concept as an immoral person promotes moral behavior. This study’s aim (...) was to integrate these two literatures. We argued that compensation forms a reactive, “damage control” response in social situations, whereas consistency derives from a more proactive approach to reputation building and maintenance. Two experiments supported this prediction in showing that cognitive depletion (i.e., resulting in a reactive approach) results in moral compensation whereas consistency results when cognitive resources are available (i.e., resulting in a proactive approach). Experiment 2 revealed that these processes originate from reputational (rather than moral) considerations by showing that they emerge only under conditions of accountability. It can thus be concluded that reputational concerns are important for both moral compensation and moral consistency processes, and that which of these two prevails depends on the perspective that people take: a reactive or a proactive approach. (shrink)

People have little difficulty distinguishing effects they cause and those they do not. An important question is what underlies this sense of agency. A prevailing idea is that the sense of agency arises from a comparison between a predictive representation of the effect and the actual effect that occurs, with a clear match between the two producing a strong sense of agency. Although there is general agreement on this comparison process, one important theoretical issue that has yet to be fully (...) determined is whether these computations are consciously performed. Here, we studied this issue by requiring participants to perform a simple judgment of agency task under conditions of different concurrent working memory load. Working memory operations are known to tax conscious cognitive resources. We found that agency judgments were moderated by working memory load, with lower agency ratings being observed in the high load condition, suggesting that the sense of agency is dependent on the availability of conscious cognitive resources. An examination of the time-course of this load effect suggests that it is the construction of the mental representation of the predicted effect which is particularly dependent on said resources. (shrink)

Phenomenal consciousness or the subjective experience of feeling sensory stimuli is fundamental to human existence. Because of the ubiquity of their subjective experiences, humans seem to readily accept the anthropomorphic extension of these mental states to other animals. Humans will typically extrapolate feelings of pain to animals if they respond physiologically and behaviourally to noxious stimuli. The alternative view that fish instead respond to noxious stimuli reflexly and with a limited behavioural repertoire is defended within the context of our current (...) understanding of the neuroanatomy and neurophysiology of mental states. Consequently, a set of fundamental properties of neural tissue necessary for feeling pain or experiencing affective states in vertebrates is proposed. While mammals and birds possess the prerequisite neural architecture for phenomenal consciousness, it is concluded that fish lack these essential characteristics and hence do not feel pain. (shrink)

“Don’t be jealous of your sister.” “Don’t be angry with your father.” “You should be more forgiving.” “You ought to feel terrible for what you’ve done.” “You ought to feel ashamed of yourself!” It is common practice within our society to morally reprimand people for their emotions, thereby expressing a kind of moralism: the idea that there are morally right and morally wrong ways to feel. Drawing on an alternative way of engaging with emotions derived from my (...) experience working clinically with people with personality disorders, I argue against the value of this common practice and the moralization of emotions that underpins it. Stop telling people what to feel! (shrink)

In everyday moral experience, we judge ourselves for our emotional responses. Most of the philosophical literature on recalcitrant emotions focuses on (a) whether and how they are possible or (b) whether and how they are irrational. My interest here is in the ways we blame ourselves for recalcitrant emotions. I aim to show that it is harder than it looks to explain self-blame for recalcitrant emotions. I argue recalcitrance alone does not give us a reason to feel any particular (...) way about our emotions and it is not sufficient grounds for self-blame. (shrink)

Sport, Ethics and Philosophy, Volume 5, Issue 2, Page 178-182, May 2011.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

We argue for an imaginative analog of desire from premises about imaginative engagement with fiction. There's a bit about the paradox of fiction, too.

It is commonly presupposed that there are no decisive differences between empathy with fictional characters on one hand and empathy with real persons on the other. I distinguish two types of processes of affect recognition "Perceptual Affect Recognition" and "Affective Affect Recognition". The consensus view about empathy with fictional characters has to be challenged if "empathy" refers to the former or the latter process because of the significant differences between the fictional and the non-fictional scenario: firstly, readers as "empathizers" cannot (...) perceive the fictional target person directly but only the literary text. This is especially problematic for Affective State Recognition. Secondly, fictional characters do not exist, at least not in the sense that they are real people or entities with mental states which leads to relevant differences of the accuracy conditions of Affective Affect Recognition in the fictional and the nonfictional scenario. (shrink)

Research indicates that emotions are predictive of sports performance. The application of emotion research to practice is that intervention strategies can be used to change emotions to enhance performance. The present study examined emotional profiles associated with successful performance. A review of studies indicate that there are general trends, that is, high activation emotions such as excitement and vigor tend to associate with good performance and low activation unpleasant emotions such as depression and dejection tend to associate with poor performance. (...) Studies show mixed results for high activation unpleasant emotions. Athletes like to feel emotions that can be functional, and so some athletes will seek to increase or sustain relatively high levels of anger or anxiety if they believe they are helpful for performance. It is proposed that practitioners identify individual emotion-performance relationships and examine underlying beliefs associated with each emotion. (shrink)

According to some, there is a problem concerning the emotions we feel toward fictional entities such as Anna Karenina, Werther and the like. We feel pity, fear, and sadness toward them, but how is that possible? “We are saddened, but how can we be? What are we sad about? How can we feel genuinely and involuntarily sad, and weep, as we do know that no one has suffered or died?” (Radford, in: Proceedings of the Aristotelian Society, 1975). (...) This is the paradox of fiction which is based on the assumption that emotions, to be genuine and rational, should be directed toward existent beings. But if beliefs about existence are necessary for us to be rationally moved by something, and such beliefs are lacking when we are moved by fiction (because we do not believe fictional characters and events to be real), then our capacity for an emotional response to fiction is irrational. Consequently, our emotional attitude toward future generations should be considered as irrational as well. But is this really the case? Are there good arguments to consider future and fictional entities as similar from this point of view? Or would it be better to distinguish the two? Is there such a thing as a paradox of the future? If so, how does it relate to the more famous paradox of fiction? (shrink)

ABSTRACTThis paper seeks to problematise and complexify scholarly accounts of contemporary emotional repression in Western contexts by presenting counterevidence in the form of two examples of post-secular collective affectivity and their ritual expressions. It argues that both narratives of emotional repression and expression fail to capture the non-linear complexity of processes of cultural transformation, which have resulted in the simultaneous expression and repression of ritualistic affects that are products of our evolutionary embodied history. Drawing on insights from affect theory, this (...) paper seeks to illustrate how contingent yet nonetheless residual ritualistic affects have become repressed in the nominally secular public sphere in modernity. This has presented certain obstacles to the open communal display of religious ritual, and, as a corollary, the expression of certain religious affects, which have subsequently re-emerged in post-secular ritual spaces that are both publically private and pr... (shrink)

An increasingly popular view in scholarly literature and public debate on implicit biases holds that there is progressive moral potential in the discomfort that liberals and egalitarians feel when they realize they harbor implicit biases. The strong voices among such discomfort advocates believe we have a moral and political duty to confront people with their biases even though we risk making them uncomfortable. Only a few voices have called attention to the aversive effects of discomfort. Such discomfort skeptics warn (...) that, because people often react negatively to feeling blamed or called-out, the result of confrontational approaches is often counterproductive. To deepen this critique, I distinguish between awareness discomfort and interaction discomfort, developing a contextual approach that draws on recent research on negative affect and emotions to chart a more complete picture of the moral limits of discomfort. I argue that discomfort advocates risk overrating the moral potential of discomfort if they underestimate the extent to which context shapes the interpretation of affect and simple, raw feelings. (shrink)

The most cursory examination of the history of artificial intelligence highlights numerous egregious claims of its researchers, especially in relation to a populist form of ‘strong’ computationalism which holds that any suitably programmed computer instantiates genuine conscious mental states purely in virtue of carrying out a specific series of computations. The argument presented herein is a simple development of that originally presented in Putnam’s monograph, “Representation & Reality”, which if correct, has important implications for turing machine functionalism and the prospect (...) of ‘conscious’ machines. In the paper, instead of seeking to develop Putnam’s claim that, “everything implements every finite state automata”, I will try to establish the weaker result that, “everything implements the specific machine Q on a particular input set ”. Then, equating Q to any putative AI program, I will show that conceding the ‘strong AI’ thesis for Q opens the door to a vicious form of panpsychism whereby all open systems,, must instantiate conscious experience and hence that disembodied minds lurk everywhere. (shrink)

ABSTRACTIn four studies, we examined the moderating impact of Interoceptive Accuracy and Interoceptive Sensibility (IS, ass...

Recent studies have shown the importance of integrating multisensory information in the body representation for constituting self-consciousness. However, one idea that has received only scant attention is that our body representation is also constituted by knowledge of bodily visual characteristics . Here in two experiments we used a full body crossmodal congruency task in which visual distractors were presented on a photograph of the participant, another person, who was either familiar or unfamiliar, or an object. Results revealed that during the (...) ‘self-condition’ CCEs were enhanced compared to the ‘other condition’. The CCE was similar for unfamiliar and familiar others. CCEs for the object condition were significantly smaller. The results show that presentation of an irrelevant image of a body affects multimodal processing and that the effect is enhanced when that image is of the self. The results hold intriguing implications for body representation in social situations. (shrink)

In many jurisdictions, an offender’s remorse is considered to be a relevant factor to take into account in mitigation at sentencing. The growing philosophical interest in the use of neurointerventions in criminal justice raises an important question about such remorse-based mitigation: to what extent should technologically facilitated remorse be honoured such that it is permitted the same penal significance as standard instances of remorse? To motivate this question, we begin by sketching a tripartite account of remorse that distinguishes cognitive, affective (...) and motivational elements of remorse. We then describe a number of neurointerventions that might plausibly be used to enhance abilities that are relevant to these different elements of remorse. Having described what we term the ‘moral value’ view of the justification of remorse-based mitigation, we then consider whether using neurointerventions to facilitate remorse would undermine its moral value, and thus make it inappropriate to honour such remorse in the criminal justice system. We respond to this question by claiming that the form of moral understanding that is incorporated into a genuinely remorseful response grounds remorse’s moral value. In view of this claim, we conclude by arguing that neurointerventions need not undermine remorse’s moral value on this approach, and that the remorse that such interventions might facilitate could also be authentic to the recipient of the neurointerventions that we discuss. (shrink)

To investigate whether people with social anxiety have less actual and “anticipatory” anxiety when interacting with a robot compared to interacting with a person, we conducted a 2 × 2 psychological experiment with two factors: social anxiety and interaction partner. The experiment was conducted in a counseling setting where a participant played the role of a client and the robot or the confederate played the role of a counselor. First, we measured the participants’ social anxiety using the Social Avoidance and (...) Distress Scale, after which, we measured their anxiety at two specific moments: “anticipatory anxiety” was measured after they knew that they would be interacting with a robot or a human confederate, and actual anxiety was measured after they actually interacted with the robot or confederate. Measurements were performed using the Profile of Mood States and the State–Trait Anxiety Inventory. The results indicated that participants with higher social anxiety tended to feel less “anticipatory anxiety” and tension when they knew that they would be interacting with robots compared with humans. Moreover, we found that interaction with a robot elicited less tension compared with interaction with a person regardless of the level of social anxiety. (shrink)

The nature of time is rooted in our body. Constellations of impulses arising from the flesh constantly create our interoceptive perception and, in turn, the unfolding of these perceptions defines human awareness of time. This study explored the connection between time perception and interoception and proposes the Interoceptive Buffer saturation (IBs) index. IBs evaluates subjects’ ability to process salient stimuli from the body by measuring subjective distortions of interoceptive time perception, i.e., the estimated duration of tactile interoceptive stimulations. Thirty female (...) healthy subjects were recruited through consecutive sampling and assessed for common variables related to interoceptive alterations: depressive symptoms (Beck Depression Inventory, BDI-II), eating disorders (EDI-3) risk, and anxiety levels (State Trait Anxiety Inventory, STAI). Interoceptive cardiac accuracy (IAc) was assessed as well. Subjects performed verbal time estimation of interoceptive stimuli (IBs) delivered using a specifically designed interoceptive tactile stimulator, as well as verbal time estimation of visual and auditory stimuli. Results showed that IBs index positively correlated with IAc, and negatively with EDI-3 Drive for Thinness (DT) risk subscale. Moreover, IBs index was positively predicted by IAc, and negatively predicted by DT and somatic factors of depression. Our results suggest that underestimations in interoceptive time perception are connected to different psychological conditions characterized by a diminished processing of high salience stimuli from the body. Conversely, overestimations of the duration of interoceptive stimuli appear to be function of subjects’ ability to correctly perceive their own bodily information. Evidence supported IBs index, fostering the concept of interoceptive treatments for clinical purposes. (shrink)

This paper focuses on the patient's perspective and the philosophical underpinnings that support what might be considered optimal for the future design of the intensive care unit (ICU) patient room. It also addresses the question of whether the aspects that support at‐homeness are applicable to ICU patient rooms. The concept of “at‐homeness” in ICUs is strongly related to privacy and control of space and territory. This study investigates whether the sense of at‐homeness can be created in an ICU, when one (...) or more patients share a room. From an interdisciplinary perspective, we critically reflect on various aspects associated with conflicts surrounding the use of ICU patient rooms. Thus, from an architectural and a caring perspective, the significance of space and personal territory in ICU patient rooms is emphasized. Recommendations for further research are suggested. In conclusion, privacy and control are deemed to be essential factors in the stimulation of recovery processes and the promotion of well‐being in situations involving severe illness or life‐threatening conditions. (shrink)

We live in times where it is possible to control our emotions using biomedical means – for example by taking pills that make us feel better. This chapter discusses one worry about the biomedical enhancement of mood. It is a worry that seems to play an important role in more familiar objections to biomedical enhancement of mood, such as the objection that it would lead to inauthenticity. The worry is that the use of positive mood enhancers will corrupt emotional (...) lives. Ethical questions about the biomedical enhancement of mood are often really questions about our affective reasons. Negative emotions typically feel bad, positive ones typically feel good. Here our hedonic reasons come into direct competition with affective reasons. Those who entirely dismiss affective reasons, or at least think that negative affective reasons are extremely weak, are likely to see little problem with positive mood enhancers. (shrink)

Here I explore a new line of evidence for belief–credence dualism, the thesis that beliefs and credences are distinct and equally fundamental types of mental states. Despite considerable recent disagreement over this thesis, little attention has been paid in philosophy to differences in how our mindreading systems represent the beliefs and credences of others. Fascinatingly, the systems we rely on to accurately and efficiently track others’ mental states appear to function like belief–credence dualists: Credence is tracked like an emotional state, (...) composed of both representational and affective content, whereas belief is tracked like a bare representational state with no affective component. I argue on a preliminary basis that, in this particular case, the mechanics of mentalizing likely pick out a genuine affective dimension to credence that is absent for belief, further strengthening the converging case for belief–credence dualism. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Working as clinical ethicists in an academic hospital, we find that practitioners tend to take a principle‐based approach to moral dilemmas when it comes to (not) treating patients who feel like a burden, in which respect for autonomy tends to trump other principles. We argue that this approach insufficiently deals with the moral doubts of professionals with regard to feeling that you are a burden as a motive to decline or withdraw from treatment. Neither does it take into adequately (...) account the specific needs of the patient that might underlie their feeling of being a burden to others. We propose a care ethics approach as an alternative. It focuses on being attentive and responsive to the caring needs of those involved in the care process—which can be much more specific than either receiving or withdrawing from treatment. This approach considers these needs in the context of the patient's identity, biography and relationships, and regards autonomy as relational rather than as individual. We illustrate the difference between these two approaches by means of the case of Mrs K. Furthermore, we show that a care ethics approach is in line with interventions that are found to alleviate feeling a burden and maintain that facilitating moral case deliberation among practitioners can supports them in taking a care ethics approach to moral dilemmas in (not) treating patients who feel like a burden. (shrink)

Any theory of experience which postulates that brain mechanisms generate "raw feel" encounters the impassable "explanatory gap" separating physics from phenomenology.

Ari Aster’s 2019 folk horror film Midsommar, which enjoyed both critical and popular success, features a bright colour palette and an eerily playful tone alongside a dark narrative exploring complexities of grief, depression, and bad relationships. The remote Swedish community to which protagonist Dani, her boyfriend, and his friends travel for a mid-summer festival is designed around beautiful objects, collective experiences, and rituals that foreground communal emotions, all of which contrast the technologically mediated communications foregrounded at the film’s outset. In (...) fact, this community offers meticulously constructed antidotes to the loneliness of the modern world, and to Western ideals of masculine emotional distance…but at a cost. This paper examines the intersection of emotion, community, and gender in Midsommar, using the concept of affective design – usually associated with technology design – as well as work on group-based emotions, to interrogate the film’s vision of a community that challenges gender norms and the boundaries of emotional experience. Through the depiction of ingroup boundary-policing, stark contrasts between visions of masculinity, and lush visions of aesthetic experience and emotional release, Midsommar offers a series of convincing compensatory mechanisms that invite viewers, along with the main character, to temporarily compromise morality for the sake of belonging. (shrink)

This poetic analysis queries what it means to be human and alive at a time of interrupted pandemic realities. We draw a link between Søren Kierkegaard and our contemporary Louise Glück in their focus on an individual battling with fears, who goes their own way defying norms and conventions. How does Kierkegaard in The lily of the field and the bird of the air (1849) metaphorically show us the way to finding inner peace and a sense of solace in that (...) which is supposedly less, and teach us to appreciate the divinity found in nature? What does Glück teach us about resilience in collections of poetry The wild iris (1992) and Averno (2006)? How do the two thematically converge and indirectly advocate for a life of stoic resilience where, with individual freedom as our end goal, we learn to endure anguish and pain – embracing suffering as a way forward? (shrink)

This chapter contains section titled: Human Consciousness Nonhumans, Consciousness and Appropriate Treatment Dolphin consciousness Do Dolphins Recognize Other Minds? Moving on: Inner World and Choice Do Dolphins Have Emotions? Do Dolphins Think? Conclusion: Dolphin onsciousness and Moral Standing.

We suggest a new answer to this intriguing question and argue that the answer may have implications for the solutions to the measurement problem. The main basis of our analysis is the doctrine of psychophysical supervenience. First of all, based on this doctrine, we argue that an observer in a quantum superposition or a quantum observer has a definite conscious experience, which is neither disjunctive nor illusive. The inconsistency of this result with the bare theory is further analyzed, and it (...) is shown that an appropriate use of the strategy of analyzing the disposition of an observer to answer a particular question also leads to the same result. Next, we argue that this new result seems to disfavor Everett's and Bohm's approaches to quantum mechanics when considering the doctrine of psychophysical supervenience. This suggests that dynamical collapse theories are in the right direction to solve the measurement problem. Thirdly, we analyze the concrete content of the conscious experience of a quantum observer. It is argued that the mental content of a quantum observer is related to both the amplitude and relative phase of each branch of the superposition she is physically in, and it is composed of the mental content corresponding to every branch of the superposition. In addition, we argue that when assuming the modulus squared of the amplitude of each branch determines the vividness of the mental content corresponding to the branch, the structured tails problem of dynamical collapse theories can be solved. (shrink)