Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...) engaged with the arts and aesthetics. (shrink)

The literature on deep brain stimulation (DBS) and adaptive DBS (aDBS) raises concerns that these technologies may affect personality, mood, and behavior. We conducted semi-structured interviews with researchers (n = 23) involved in developing next-generation DBS systems, exploring their perspectives on ethics and policy topics including whether DBS/aDBS can cause such changes. The majority of researchers reported being aware of personality, mood, or behavioral (PMB) changes in recipients of DBS/aDBS. Researchers offered varying estimates of the frequency of PMB changes. A (...) smaller majority reported changes in personality specifically. Some expressed reservations about the scientific status of the term ‘personality,’ while others used it freely. Most researchers discussed negative PMB changes, but a majority said that DBS/aDBS can also result in positive changes. Several researchers viewed positive PMB changes as part of the therapeutic goal in psychiatric applications of DBS/aDBS. Finally, several discussed potential causes of PMB changes other than the device itself. (shrink)

In this paper, we are concerned with the arithmetical definability of certain notions of integers and rationals in terms of other notions. The results derived will be applied to obtain a negative solution of corresponding decision problems.In Section 1, we show that addition of positive integers can be defined arithmetically in terms of multiplication and the unary operation of successorS(whereSa=a+ 1). Also, it is shown that both addition and multiplication can be defined arithmetically in terms of successor and the relation (...) of divisibility | (wherex|ymeansxdividesy). (shrink)

This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...) are positive, pleasurable, consummatory emotions—emotions of appreciation—which are noninstrumental and which take as their intentional objects the intrinsic qualities of an artwork, more particularly, its formal interrelationships and the way that the overall formal structure of an artwork molds its content. (shrink)

Making data broadly accessible is essential to creating a medical information commons. Transparency about data-sharing practices can cultivate trust among prospective and existing MIC participants. We present an analysis of 34 initiatives sharing DNA-derived data based on public information. We describe data-sharing practices captured, including practices related to consent, privacy and security, data access, oversight, and participant engagement. Our results reveal that data-sharing initiatives have some distance to go in achieving transparency.

Provides translations and interpretations of the texts of works by the great figures of early Greek philosophy.

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” (...) is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

Berys Gaut has recently defended a cluster account of art. He proposes it as superior to other anti-essentialist positions. I argue that his defence of this claim is unconvincing. Not only is the cluster theory consistent with the current crop of disjunctive definitions, it is at its most plausible when seen in such terms.

The expansion of research on deep brain stimulation (DBS) and adaptive DBS (aDBS) raises important neuroethics and policy questions related to data sharing. However, there has been little empirical research on the perspectives of experts developing these technologies. We conducted semi-structured, open-ended interviews with aDBS researchers regarding their data sharing practices and their perspectives on ethical and policy issues related to sharing. Researchers expressed support for and a commitment to sharing, with most saying that they were either sharing their data (...) or would share in the future and that doing so was important for advancing the field. However, those who are sharing reported a variety of sharing partners, suggesting heterogeneity in sharing practices and lack of the broad sharing that would reflect principles of open science. Researchers described several concerns and barriers related to sharing, including privacy and confidentiality, the usability of shared data by others, ownership and control of data (including potential commercialization), and limited resources for sharing. They also suggested potential solutions to these challenges, including additional safeguards to address privacy issues, standardization and transparency in analysis to address issues of data usability, professional norms and heightened cooperation to address issues of ownership and control, and streamlining of data transmission to address resource limitations. Researchers also offered a range of views on the sensitivity of neural activity data (NAD) and data related to mental health in the context of sharing. These findings are an important input to deliberations by researchers, policymakers, neuroethicists, and other stakeholders as they navigate ethics and policy questions related to aDBS research. (shrink)

In paragraph 48 of the Critique of Judgment, Immanuel Kant claimed that ‘only one kind of ugliness cannot be represented in accordance with nature without destroying all aesthetic satisfaction, hence artistic beauty, namely that which arouses disgust.’ However, from Baudelaire to Damien Hirst, there have been artists who delight in arousing disgust through their works, and many of these disgusting works, such as Baudelaire's Une Charogne, have high aesthetic merit. In her splendid new book, Savoring Disgust, Carolyn Korsmeyer rejects Kant's (...) suggestion and argues that there is something called ‘aesthetic disgust,’ that is, ‘the arousal of disgust in an audience, a spectator, or a reader, under circumstances where that emotion both apprehends artistic properties and constitutes a component of appreciation.’. (shrink)

Psychedelic experiences are often compared to “transformative experiences” due to their potential to change how people think and behave. This study empirically examines whether psychedelic experiences constitute transformative experiences. Given psychedelics’ prospective applications as treatments for mental health disorders, this study also explores neuroethical issues raised by the possibility of biomedically directed transformation—namely, consent and moral psychopharmacology. To achieve these aims, we used both inductive and deductive coding techniques to analyze transcripts from interviews with 26 participants in psychedelic retreats. Results (...) indicate that psychedelic experiences can constitute transformative experiences. Twenty participants reported experiences or insights that were seemingly inaccessible or impossible to attain if not for the psychoactive effects of psychedelics. All participants besides one reported some change in identity, values, beliefs, desires, and behavior—changes in behavior being the most common. Participants also reported feeling capable deciding to use psychedelics in part due to information seeking prior to their retreats. Finally, several participants reported an enhanced capacity for enacting changes in their lives. Our results underscore both the importance of subjective embodiment to transformation and the role of transformative agency in shaping outcomes of the psychedelic experience. We examine our results relative to neuroethical issues and advocate for centering the person in psychedelic research and neuroethical inquiry about psychedelics to avoid pitfalls associated with psychedelics’ potential as moral psychopharmacological agents. (shrink)

Prologue: Quest for the Personal In the lectures which formed the basis of this book I began, as Chapter i indicates, with a brief review of how the current ...

This article extends prior conversation analytic research on the preference organization of sequence-initiating actions. Across two languages, this article examines one such action: explicitly soliciting an account for human conduct. Prior work demonstrates that this action conveys a challenging stance towards the warrantability of the accountable event/conduct. When addressees are somehow responsible for the accountable event/conduct, explicit solicitations of accounts are frequently critical of, and thus embody disaffiliation with, addressees. This article demonstrates that, when explicit solicitations of accounts embody disaffiliation, (...) they are systematically ‘withheld’ and, thus, can be characterized as ‘dispreferred’ actions. This article also examines: a) deviant cases, where account solicitations are not withheld, which is a practice for embodying aggravated disaffiliation; and b) negative cases, where account solicitations actually embody affiliation, and as such are typically treated as preferred actions and not withheld. (shrink)

Joan Robinson was one of the greatest economists of the twentieth century and a fearless critic of free-market capitalism. A major figure in the controversial 'Cambridge School' of economics in the post-war period, she made fundamental contributions to the economics of international trade and development. In Economic Philosophy Robinson looks behind the curtain of economics to reveal a constant battle between economics as a science and economics as ideology, which she argued was integral to economics. In her customary vivid and (...) pellucid style, she criticizes early economists Adam Smith and David Ricardo, and neo-classical economists Alfred Marshall, Stanley Jevons and Leon Walras, over the question of value. She shows that what they respectively considered to be the generators of value - labour-time, marginal utility or preferences - are not scientific but 'metaphysical', and that it is frequently in ideology, not science, that we find the reason for the rejection of economic theories. She also weighs up the implications of the Keynesian revolution in economics, particularly whether Keynes's theories are applicable to developing economies. Robinson concludes with a prophetic lesson that resonates in today's turbulent and unequal economy: that the task of the economist is to combat the idea that the only values that count are those that can be measured in terms of money. This Routledge Classics edition includes a new foreword by Sheila Dow. (shrink)

Background People who are at elevated risk of suicide stand to benefit from internet-based interventions; however, research in this area is likely impacted by a range of ethical and practical challenges. The aim of this study was to examine the ethical issues and practical barriers associated with clinical studies of internet-based interventions for suicide prevention. Method This was a mixed-methods study involving two phases. First, a systematic search was conducted to identify studies evaluating internet-based interventions for people at risk of (...) suicide, and information pertaining to safety protocols and exclusion criteria was extracted. Second, investigators on the included studies were invited to complete an online survey comprising open-ended and forced-choice responses. Quantitative and qualitative methods were used to analyse the data. Results The literature search identified 18 eligible studies, of which three excluded participants based on severity of suicide risk. Half of the 15 suicide researchers who participated in the survey had experienced problems obtaining ethics approval, and none had encountered adverse events attributed to their intervention. Survey respondents noted the difficulty of managing risk in online environments and the limitations associated with implementing safety protocols, although some also reported increased confidence resulting from the ethical review process. Respondents recommended researchers pursue a collaborative relationship with their research ethics committees. Conclusion There is a balance to be achieved between the need to minimise the risk of adverse events whilst also ensuring interventions are being validated on populations who may be most likely to use and benefit from them. Further research is required to obtain the views of research ethics committees and research participants on these issues. Dialogue between researchers and ethics committees is necessary to address the need to ensure safety while also advancing the timely development of effective interventions in this critical area. (shrink)

According to Dominic Lopes, expressiveness in pictures should be analyzed solely in terms of “expression looks” of various sorts, namely the look of a figure, a scene and/or a design. But, according to this view, it seems puzzling that expressive pictures should have any emotional effect on their audiences. Yet Lopes explicitly ties his “contour theory” of expression in pictures to empathic responses in spectators. Thus, despite his deflationary account of pictorial expression, he claims that pictures can give us practice (...) in various “empathic skills.” I argue that Lopes’s account of empathic responses to pictures, while interesting and enlightening, nevertheless ignores the most important way in which pictures exercise and enhance our empathic skills, namely, by giving us practice in taking the emotional perspective of another person. (shrink)

Can one be cruel to an inanimate object? In the following I argue that one can in fact be cruel to an inanimate object, defining cruelty as taking pleasure in intentionally causing suffering to another person, animal or inanimate object, whether such suffering be genuine, mistakenly believed, or sincerely hoped for. I label the conception of cruelty in question ‘agent-subjective, possible mistake of fact’, and touch upon some implications of this.

This chapter contains sections titled: The Emotions in Art: A Thumbnail Sketch Emotion Emotional Expression in the Arts The Emotional Experience of the Arts Conclusion.

This chapter contains sections titled: How to Read a Story What is Emotional Involvement? Processing a Narrative Interpretation as Reflection on Emotional Responses to a Text Why Be Emotionally Involved? Objections.

In this paper, we contest Peter Kivy’s claim that there is a clear opposition between ‘absolute music’ and programme music and between musical form and musical expressiveness. We argue, on the contrary, that much music falls somewhere between absolute and programme music as Kivy conceives the categories, and that such music is often primarily organized not on purely formal principles but by means of the overall ‘expressive trajectory’ or ‘poetic idea’ of the piece. Kivy is dismissive of all ‘narrativist’ interpretations (...) of what he considers absolute music, arguing that they add an ‘extraneous’ story to music that neither has nor needs one. We argue on the contrary that the history of the ‘heroic’ plot type in the tradition from Beethoven to Shostakovich demonstrates that composers in the Russian Romantic tradition conceived of their music as unified by ‘poetic ideas’, which were handed down and elaborated by one composer after another. (shrink)