According to a common sense theory, facial expressions signal specific emotions to people of all ages and therefore provide children easy access to the emotions of those around them. The evidence, however, does not support that account. Instead, children’s understanding of facial expressions is poor and changes qualitatively and slowly over the course of development. Initially, children divide facial expressions into two simple categories (feels good, feels bad). These broad categories are then gradually differentiated until an adult system of discrete (...) categories is achieved, likely in the teen years. Children’s understanding of most specific emotions begins not with facial expressions, but with their understanding of the emotion’s antecedents and behavioral consequences. (shrink)

The first generation of children to grow up with electronic toys and games saw computers as our “nearest neighbors.” They spoke of computers as rational machines and of people as emotional machines, a fragile formulation destined to be challenged. By the mid-1990s, computational creatures, including robots, were presenting themselves as “relational artifacts,” beings with feelings and needs. One consequence of this development is a crisis in authenticity in many quarters. In an increasing number of situations, people behave as though they (...) no longer place value on living things and authentic emotion. This paper examines watershed moments in the history of human–machine interaction, focusing on the pertinence of relational artifacts to our collective perception of aliveness, life’s purposes, and the implications of relational artifacts for relationships. For now, the exploration of human–robot encounters leads us to questions about the morality of creating believable digital companions that are evocative but not authentic. (shrink)

Izard (2010) did not seek a descriptive definition of emotion—one that describes the concept as it is used by ordinary folk. Instead, he surveyed scientists’ prescriptive definitions—ones that prescribe how the concept should be used in theories of emotion. That survey showed a lack of agreement today and thus raised doubts about emotion as a useful scientific concept.

The numbering in the new edition of Wittgenstein's Remarks does not in general correspond to the part and section numbers of the 1956 edition. The following concordance is useful for making cross references between the two editions.

In lieu of an abstract, here is a brief excerpt of the content:IntroductionSherri Irvin, Guest Editor (bio)The idea for this special issue of the Journal of Aesthetic Education had its origins in the December 2007 event “The Art of Performance: Symposium in Honor of Jim Hamilton,” organized by Sandra Lapointe and Marcelo Sabatés and hosted by the Department of Philosophy at Kansas State University with the kind support of President Jon Wefald and the dean of the Faculty of Arts and (...) Sciences. The symposium was designed to celebrate the 2007 publication of Jim Hamilton’s The Art of Theater by Blackwell, as well as his many years of leading experimental theater programs for Kansas youth. Noël Carroll, David Davies, Aaron Meskin, and I were critics in an author-meets-critics session on The Art of Theater at the symposium, while Paul Thom was a critic for a session on the book at the 2007 Annual Meeting of the American Society for Aesthetics.The Art of Theater bears the stamp of Hamilton’s dual roles as a philosopher and an avid participant in contemporary theater practice. It is a philosophically sophisticated and richly informed treatment of the theoretical issues surrounding the practice of theater. It contributes greatly to filling what was a rather glaring hole in the philosophical literature: whereas music has received quite extensive treatment in recent decades, only a few philosophers have ventured into the complex territory of theater.Hamilton holds that theater is an independent form of art: theatrical performances are artworks in their own right, not subsidiary to or derivative of works in any other form (particularly literature). The process by which a theatrical performance is constructed, he suggests, involves such an extensive array of decisions by the performing company—including decisions about whether and how to make use of any preexisting text in the performance—that no text or literary work can be thought of as “the work” that is performed. Instead, the company’s activities generate the only work [End Page 1] at issue: namely, the performance itself. When a performance seems to bear a special relation to some repeatable entity, such as Hamlet, we should understand this as a relation the performance bears not to some literary text but to a tradition of other performances that have been collected under the Hamlet rubric. Accordingly, basic understanding of a theatrical performance does not require prior acquaintance with a text or literary work; spectators can have basic understanding of a performance as long as their responses demonstrate that they have followed what is happening as the performance itself unfolds. Spectators lacking extensive acquaintance with recent text-based theatrical practices, then, need not be stigmatized as lacking the resources to appreciate works of theater.In this issue Hamilton’s précis of the book is followed by the contributions of five critics who challenge the book’s central theses. The critics ask, Does Hamilton provide sufficient reason to reject the claim that at least some performances are of literary works, and can a satisfactory ontology of theater be developed if this claim is rejected? Even if theatrical performances are not of some text-based literary work, could they be of some other work, perhaps a work of theater that is generated through the performance practices of a company? Should spectators who follow what is happening moment-to-moment in a given performance, but fail to recognize that the performance parodies or satirizes some literary work, be said to have even basic understanding of what they have seen?Hamilton’s extensive replies to the critics will, I think, serve as a valuable supplement to the book, clarifying some of its central arguments and, in some instances, supplying new arguments for its theses. In particular, he points out that he did not intend for the book to provide a definitive argument for the thesis that theatrical performances are never performances of some other work; instead, he takes this thesis to emerge from a careful examination of theatrical practice. The aim of the book is to explore the implications of the thesis and to show how identification and appreciation of theatrical performances are possible if it is true. In this spirit, many of his claims should be given... (shrink)

Despite the amount of theorization on the forms and effects of participation, relatively little research directly examines what the concept of workplace participation entails in the minds of employees, and whether employees across cultures think positively when the concept of participation is activated in their mental representation. Three studies investigated the perceptions and preferences of full-time employees from the United States and China, cultures that might be expected to differ in their societal participation norm. Using a free association test and (...) text analyses, Study 1 demonstrated that Chinese and American employees differed in their construal of workplace participation, yet both culture groups associated positive valence to the concept of participation. Study 2 showed that employees’ preference for workplace participation is positively related to their perceptions of its outcomes on productivity, job satisfaction, and workplace conflict. Study 3 had employees interact with either a prototypically high or low participation work environment and tested whether clear cultural contrasts might occur. American employees expressed unambiguous endorsement and predicted positive outcomes of a high participation workplace, whereas Chinese employees expressed slightly higher endorsement to a low participation work environment and associated it with higher productivity. This research provides insights on how workplace participation is construed by employees from different cultures, especially from cultures where democratic participation is not the normative default. Different perspectives on workplace participation across cultures may inform practitioners of the goals and approaches when shaping a more participatory workplace and a more democratic society. (shrink)

Many feminists have aruged that researchers must “give voice” to hitherto silenced women by adopting “the view from below.” Critically reviewing the literature on feminist methodology, the author argues that this perspective, while absolutely essential, is not sufficient. Confining research to induction-based methods ignores the limits to such research: Ideologies of oppression are often internalized, while the underlying structures of oppression are hidden. Marxist approaches may help reveal hidden determinants of oppression, but they risk exacerbating inequalities between researcher and researched. (...) Women's experience of a world shaped by structures of inequality produces contradictory relationships among researcher and researched and requires a methodology that deals with difference and the blindness of privilege among women. Women's oppression is “a complex of many contradictions” and necessitates a new standpoint-based methodology, created by researchers and participants of diverse race, class, and other oppressed groups, refocusing and re-visioning knowledge based on theory, action, and experience. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

Drawing upon contemporary virtue ethics theory, The Model of The Principled Advocate and The Pathological Partisan is introduced. Profiles are developed of diametrically opposed archetypes of public relations and advertising practitioners. The Principled Advocate represents the advocacy virtues of humility, truth, transparency, respect, care, authenticity, equity, and social responsibility. The Pathological Partisan represents the opposing vices of arrogance, deceit, secrecy, manipulation, disregard, artifice, injustice, and raw self-interest. One becomes either a Principled Advocate or a Pathological Partisan by habitually enacting or (...) embodying the virtues or vices in the context of professional practices. (shrink)

With increasing inoculations and emerging coronavirus variants, governments worldwide are challenged to adopt proper liberty-restricting measures to reduce the spread of COVID-19 and minimise grave consequences for liberty and well-being caused by over a year-long pandemic. Cameron et al ’s proposal of a selective strategy addresses this pressing issue.1 Following Savulescu and Cameron, they argue for limiting the liberty of the elderly. But, instead of claiming not doing so is an instance of wrongful levelling down equality, they argue this discriminative (...) strategy is morally acceptable.2 I argue against the selective liberty-restrictive measures after proposing a revision of the five-limb proportionality test that plays a pivotal role in supporting their argument. The following is a reconstruction of Cameron et al ’s central argument: It is ethically acceptable to promote the best outcome. One way to promote the best outcome is to maximise utility at the population level without imposing unreasonable costs on the most vulnerable individuals. All else being equal, adopting selective liberty-restricting measures in the COVID-19 pandemic is the best way to maximise utility at the population level without imposing unreasonable costs on the most vulnerable individuals. If it is ethically acceptable to …. (shrink)

Recent accounts of the role of diagrams in mathematical reasoning take a Platonic line, according to which the proof depends on the similarity between the perceived shape of the diagram and the shape of the abstract object. This approach is unable to explain proofs which share the same diagram in spite of drawing conclusions about different figures. Saccheri’s use of the bi-rectangular isosceles quadrilateral in Euclides Vindicatus provides three such proofs. By forsaking abstract objects it is possible to give a (...) natural explanation of Saccheri’s proofs as well as standard geometric proofs and even number-theoretic proofs. (shrink)

Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...) media art, and participatory art. -/- Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Where rules collide with real-world circumstances, they may be broken maliciously, mistakenly, or for good reasons, threatening the work's meanings and sometimes its very existence. -/- Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means. (shrink)

Physician-based transparency approaches have been advanced as a strategy for informing patients of the likely financial consequences of using services. The structure of health care pricing and insurance coverage, and the low uptake of existing tools, suggest these approaches are likely to be unwieldy and unsuccessful. They may also generate new ethical challenges.

This data includes information on authorship gender in Leiter Ranked, Unranked, and Interdisciplinary Philosophy Journals between 1900 & 2010.

Advances in machine learning hold promise for corpus analysis: they have the potential to allow for more efficient and less biased analyses of text. This would be a boon for qualitative research, such as the survey research conducted by Academic Philosophy Data and Analysis. In this paper we examine the utility of automated machine learning for select survey questions, with a focus on LDA and VADER. We thus compare human and machine coding on the question of whether underrepresented philosophers are (...) more likely to respond negatively to questions concerning diversity and inclusivity in academic philosophy. Our study has mixed results, revealing instances where automated machine learning can be used to fruitfully support and interrogate more traditional hand-coding techniques, but also instances where we were unable to glean much insight. (Contact authors for draft.). (shrink)

Embrace your authentic self and let your soul's light shine forth with guidance from 150 lessons meant to inspire, motivate, and teach. This empowering book helps you shed what is false and come to know, accept, and express your true self. With essays to uplift and engage you through personal stories, meditations, exercises, affirmations, and question prompts, Discover Your Authentic Self shows you how to live according to your passions and purpose. Explore a range of topics for self-discovery, including intuition, (...) spirit animals, recognizing personal abilities as related to archetypes, living your purpose, spirit essence and energy (chakras and auras), and more. With this remarkable book, you'll unlock your truth and set yourself free. (shrink)

This paper examines the economic rationale of affordability exemptions in the context of a health insurance mandate. I provide an economic definition of affordability and discuss how it is implemented in the contexts of food, housing, and health care. Affordability standards are frequently used in making food and housing policy, but both empirically and theoretically health care operates quite differently than these other merit goods. This helps explain why the use of affordability in health policymaking is so different from its (...) use in these other contexts. I conclude with some suggestions about how to improve affordability exemption rules in health policymaking. (shrink)