This study investigates the semiotic significance of water in Persian garden landscapes, revealing its cultural, spiritual, and religious roots. Drawing on Louis Hjelmslev’s theories and employing a semiotic model for landscape study, the paper conducts a holistic analysis of water’s physical and semantic dimensions in these gardens. The research adopts a triadic approach, starting with an examination of the form-to-substance ratio at the expression level to interpret the gardens’ physical and visual features. The article explores the connection between these features (...) and the gardens’ cultural context and, finally, links structural concepts to broader societal ideologies. Qualitative content analysis of case studies, including Fin Garden and Dolatabad Garden, exposes the multifaceted meanings of water elements, from their geometric organization to their socio-cultural and ideological resonance. The findings disclose a triadic meaning system where water acts as a unifying symbol, reflecting Iranian societal values and enhancing the gardens’ lasting appeal. This study not only contributes to the semiotic discourse by applying Hjelmslev’s theories to the specific context of Iranian gardens but also enriches the understanding of cultural heritage and landscape design. (shrink)

While often overlooked, loss and grief play a fundamental role in Spinoza’s practical philosophy. In this paper, I offer the first comprehensive reconstruction of Spinoza’s account of loss and grief, focusing on the Latin term desiderium and the Dutch term beklag. Three main theses are advanced. First, Spinoza regards loss not just as one affection among many but as the fundamental event underlying all sad passions, distinguishing between two determinations of desire: cupiditas and desiderium. Second, Spinoza provides a rich and (...) philosophically significant account of grief, structured around three key claims: (1) The object of loss is the powers and capacities constitutive of one’s individual striving: in experiencing loss, we do not lose something we possess but something we are; (2) Grief arises when a unique and irreplaceable configuration of powers central to one’s striving is lost permanently or for an indeterminate time; (3) Accommodating loss involves a transformation of one’s individual striving, such that the desires and powers defining one’s existence change radically; Third and finally, his analysis of loss and grief supports nuanced interpretations of Spinoza that assign sad affects a crucial constitutive role in the cultivation of the good life, both at the individual and collective levels. (shrink)

Listening to music can be an intensely moving experience. Many people love music in part because of its power to alter or amplify their moods, and turn to music for inspiration, comfort, or therapy. It is a puzzle, then, why many of us spend so much time listening to sad music. If music can influence our moods, and assuming that most people would prefer to be happy not sad, why would we choose to listen to sad music? I revisit the (...) question of why we like sad music, drawing from work in both the philosophy and psychology of music, as well as work in the philosophy and science of affect. I argue to shift the focus of the question to music-induced moods, not emotions. This reframes the debate but does not dissolve the paradox. To understand what is appealing about the affective experience of listening to sad music I suggest we take into account the unique features of music-induced sad mood. I argue that sad mood and a certain sort of focused music listening are mutually reinforcing in ways that differ from other mood/music interactions. Sad mood and sad music are, in a sense, made for each other. (shrink)

People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. In this alternative hypothesis, describing something as art makes people more inclined to appropriate it, (...) that is, to see it as an expression of their own sadness. Study 1 found that describing the exact same sad text as art (e.g., a monologue) as opposed to not-art (e.g., a diary entry) led to increased liking for the work. Study 2 showed that this effect is not mediated by fictionality. Study 3 showed that the effect is mediated by appropriation. Study 4 looked at the impact of a manipulation of fictionality. Describing a work as fictional did lead to increased liking, but this effect was completely mediated by appropriation. These results provide at least some initial support for the appropriation hypothesis. (shrink)

In Sad Love: Romance and the Search for Meaning, Carrie Jenkins invites the reader to reconceptualize romantic love. In particular, she takes issue with the ide.

Graphical AbstractSAD is a state of depression induced by a lack of sufficient sunlight that occurs at high latitudes during the fall and winter. SAD causes people to be risk-adverse. Granting agencies of high latitude countries should time high-risk research competitions so they do not coincide with the SAD months.

Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We (...) then explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation. (shrink)

Enjoyment of negative emotions in music is seen by many as a paradox. This paper argues that the paradox exists because it is difficult to view the process that generates enjoyment as being part of the the same system that also generates the subjective negative feeling. Compensation theories explain the paradox as the compensation of a negative emotion by the concomitant presence of one or more positive emotions. But compensation brings us no closer to explaining the paradox because it does (...) not explain how experiencing sadness itself is enjoyed. The solution proposed is that an emotion is determined by two critical processes—labelled motivational action tendency (MAT) and subjective feeling (SF). For many emotions the two processes are coupled in valence. For example, happiness has positive MAT and positive SF, annoyance has negative MAT and negative SF. However, in an aesthetic context, such as listening to music, emotion processes can become decoupled. Sadness retains its negative SF but the aversive, negative MAT is inhibited, leaving sadness to still be experienced as a negative valanced emotion, while contributing to the overall positive MAT. Individual differences, mood and previous experiences mediate the degree to which the aversive aspects of MAT are inhibited. The reason for hesitancy in considering or testing this parallel processes hypothesis, as well as the preponderance of research on sadness at the exclusion of other negative emotions, are discussed. (shrink)

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of (...) feelings and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable: (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated. (shrink)

Love is most often associated with happiness, satisfaction and pleasure. But it has a darker side we ignore at our peril. Love is often an uncomfortable and difficult feeling. The people we love can let us down badly. And the ways we love are often quite different to the romantic ideals society foists upon us. Since we are inevitably disappointed by love, wouldn't we be better off without it? No, says Carrie Jenkins. Instead, we need a new philosophy of love, (...) one that recognizes that the pain and suffering love causes are a natural, even a good part of what makes love worthwhile. What Jenkins calls "sad love" offers no bogus "happy ever afters." Rather, it tries to find a way properly to integrate heartbreak and disappointment into the lived experience of love"--Page 4 of cover. (shrink)

Recent work on hypercomputation has raised new objections against the Church–Turing Thesis. In this paper, I focus on the challenge posed by a particular kind of hypercomputer, namely, SAD computers. I first consider deterministic and probabilistic barriers to the physical possibility of SAD computation. These suggest several ways to defend a Physical version of the Church–Turing Thesis. I then argue against Hogarth's analogy between non-Turing computability and non-Euclidean geometry, showing that it is a non-sequitur. I conclude that the Effective version (...) of the Church–Turing Thesis is unaffected by SAD computation. (shrink)

“Everything is sad,” wrote the Ancient poets. But is this sadness merely a human experience, projected onto the world, or is there a gloom attributable to the world itself? Could the universe be forever weeping the “tears of things”? In this series of meditations, Dominic Pettman and Eugene Thacker explore some of the key “negative affects” – both eternal and emergent – associated with climate change, environmental destruction, and cosmic solitude. In so doing they unearth something so obvious that (...) it has gone largely unnoticed: the question of how we should feel about climate change. Between the information gathered by planetary sensors and the simple act of breathing the air, new unsettling moods are produced for which we currently lack an adequate language. Should we feel grief over the loss of our planet? Or is the strange feeling of witnessing mass extinction an indicator that the planet was never “ours” to begin with? Sad Planets explores this relationship between our all-too-human melancholia and a more impersonal sorrow, nestled in the heart of the cosmic elements. Spanning a wide range of topics – from the history of cosmology to the “existential threat” of climate change – this book is a reckoning with the limits of human existence and comprehension. As Pettman and Thacker observe, never before have we known so much about the planet and the cosmos, and yet never before have we felt so estranged from that same planet, to say nothing of the stars beyond. (shrink)

A philosophical discussion of the emergence of new media cannot be limited to analyzing the structure and inner logic of the different media themselves. It ought to address the abiding philosophical predicaments of human experience, feeling and knowledge. Walter Benjamin and Roland Barthes are both famous for their writings about photography; their discussion, however, is not limited to the nature of the medium itself, but provokes important questions regarding the internal connection between photography and feeling, specifically, sadness. This chapter (...) traces the connection between the photographic medium and feeling as it appears in Benjamin and Barthes and argues that the uniqueness of this medium lies not in the way it captures or represents feeling, but rather in its ability to evoke feeling. Benjamin and Barthes’ investigations of the photographic medium may thus be regarded as an appraisal of the nature of human feelings and their intrinsic connection with photography. (shrink)

Three experiments were conducted in order to validate 56 musical excerpts that conveyed four intended emotions (happiness, sadness, threat and peacefulness). In Experiment 1, the musical clips were rated in terms of how clearly the intended emotion was portrayed, and for valence and arousal. In Experiment 2, a gating paradigm was used to evaluate the course for emotion recognition. In Experiment 3, a dissimilarity judgement task and multidimensional scaling analysis were used to probe emotional content with no emotional labels. (...) The results showed that emotions are easily recognised and discriminated on the basis of valence and arousal and with relative immediacy. Happy and sad excerpts were identified after the presentation of fewer than three musical events. With no labelling, emotion discrimination remained highly accurate and could be mapped on energetic and tense dimensions. The present study provides suitable musical material for research on emotions.Keywords. (shrink)

I argue that sadness is not about loss. I present two counterexamples to the Loss View: the view that if one is sad about something one takes it to be a loss. I suggest an alternative and defend it.

Political and economic challenges, amplified by social media algorithms, are increasingly polarising how people receive and evaluate information. This study examines how political views and immediate emotional reactions shape the perceived trustworthiness of information. We conducted a preregistered laboratory experiment in which participants evaluated politically charged statements while their emotional responses were assessed in real time. Facial expressions were recorded to identify seven discrete emotions, while galvanic skin response and heart rate were measured to capture physiological arousal and reaction intensity. (...) Consistent with expectations and prior research, we observed a clear political confirmation bias: ideologically congruent statements were rated as more trustworthy, with the strongest effect among the most conservative participants. Increases in anger and sadness were positively associated with trust ratings across the sample, whereas joy was linked to reduced confirmation bias. Among conservatives, multiple emotions predicted overall trust and the extent of confirmation bias. Machine-learning models incorporating physiological data likewise identified anger and joy as the most informative emotional predictors; however, physiological measures did not improve predictive performance beyond the baseline model, contrary to our expectation. By integrating behavioural and real-time physiological measures, the findings highlight how emotional and cognitive processes interact to shape trust in political information. (shrink)

The World Health Organization states that depression is the leading cause of disability worldwide, and predicts that by 2030 the epidemic of depression raging across the world will be the single biggest contributor to the overall burden of disease of all health conditions. Yet this gloomy picture masks a number of paradoxes concerning the diagnosis and cultural interpretation of depression that appear to challenge the claimed prevalence rates on which it is based. This book's essays by some of the world's (...) leading researchers and scholars on depression explores these anomalies in detail from multidisciplinary and multicultural perspectives, and in doing so reshapes the debate on the nature of depression that is currently under way in the US and abroad. At the book's core is the exploration from the multiple perspectives of a key dilemma: is the epidemic of depression real or is it just apparent? In particular, could it be the result of criteria laid down in the official American classification system of mental disorders, the DSM, interacting with cultural changes to reshape our view of melancholy, pathologizing what were formerly normal symptoms of grief or intense sadness? The debate over the DSM's conception of depression has an international relevance, with the WHO's upcoming revisions to its International Classification of Diseases requiring coordination with the DSM. This collection of perspectives has an unprecedented international dimension, as scholars from Europe and around the world join US academics to explore a central and controversial element of contemporary psychiatric diagnosis - and one that has enormous practical implications for the future of mental health care and how we view our emotions. The book's accessible essays will make it useful to scholars, practitioners, and students across a wide range of disciplines. (shrink)

Why do people enjoy sad music? Recently, empirical studies on this issue exploded and offer valuable insights into the paradox of sad music. Importantly, it appears that people listen to sad music especially when they feel sad (contextual issue). Personal traits, notably empathy and absorption, predict the enjoyment of sad music (personal issue). And the perils of sad music, particularly rumination, are well documented (dysfunctional issue). This article uses these findings to refine the paradox of sad music. I argue that (...) the main philosophical accounts fail to address the refined paradox. As a remedy, I offer a solution that relies on the epistemic function of sadness. Sadness motivates reflection and comes with epistemic benefits, such as more realistic beliefs and an analytic mindset. I claim that sadness’ epistemic value illuminates the allure of sad music. People listen to sad music, especially when they feel sad, because they exploit the reflective mindset of sadness. I offer three arguments that pertain to the contextual, personal, and dysfunctional issues raised by the refined paradox: the reflective mindset nicely illuminates these issues. As sad music helps us to reflect on what truly matters, it is no wonder that people often deem it profound. (shrink)

This chapter contains sections titled: The Nature of Beauty Truth, Goodness, and Beauty Beauty and the Blues Notes.

Inhibition, an executive function, is critical for achieving goals that require suppressing unwanted behaviours, thoughts, or distractions. One hypothesis of the emotion and goal compatibility theory is that emotions of sadness and fear enhance inhibitory control. Across Experiments 1–4, we tested this hypothesis by inducing a happy, sad, fearful, and neutral emotional state prior to completing an inhibition task that indexed a specific facet of inhibition (oculomotor, resisting interference, behavioural, and cognitive). In Experiment 4, we included an anger induction (...) to examine whether valence or motivational-orientation best-predicted performance. We found support that fear and sadness enhanced inhibition except when inhibition required resisting interference. We argue that sadness and fear enhance inhibitory control aiding the detection and analysis of problems (i.e. sadness) or threats (i.e. fear) within one’s environment. In sum, this work highlights the importance of identifying how negative emotions can be beneficial for and interact with specific executive functions influencing down-stream processing including attention, cognition, and memory. (shrink)

Reading is one of the most common everyday activities, yet research elucidating how affective influence reading processes and outcomes is sparse with inconsistent results. To investigate this question, we randomly assigned participants (N = 136) to happiness (positive affect), sadness (negative affect), and neutral video-induction conditions prior to engaging in self-paced reading of a long, complex science text. Participants completed assessments targeting multiple levels of comprehension (e.g. recognising factual information, integrating different textual components, and open-ended responses of concepts from (...) memory) after reading and after a week-long delay. Results indicated that the Sadness (vs. Happiness) condition had higher comprehension scores, with the largest effects emerging for assessments targeting deeper levels comprehension immediately after reading. Eye-tracking analyses revealed that such benefits may be partly driven by sustained attentional focus over the 20-minute reading session. We discuss results with respect to theories on affect, cognition, and text comprehension. (shrink)

Experimental induction of sad mood states is a mainstay of laboratory research on affect and cognition, mood regulation, and mood disorders. Typically, the success of such mood manipulations is reported as a statistically significant pre- to post-induction change in the self-rated intensity of the target affect. The present commentary was motivated by an unexpected finding in one of our studies concerning the response rate to a well-validated sad mood induction. Using the customary statistical approach, we found a significant mean increase (...) in self-rated sadness intensity with a moderate effect size, verifying the “success” of the mood induction. However, that “success” masked that, between one-fifth and about one-third of our samples reported absolutely no sadness in response to the mood induction procedure. We consider implications of our experience for emotion research by commenting upon the typically overlooked phenomenon of nonresponse, suggesting changes in reporting practices regarding mood induction success, and outlining future directions to help scientists determine why some subjects do not respond to experimental mood induction. (shrink)

The current study investigated how sad expressions during encoding affected recognition of facial identity in visual working memory and its electrophysiological correlates. Event-related poten...

Many find the prospect of death distressing at least partly because they believe that death deprives its subject of life’s benefits. Properly qualified, the belief is surely true. But should its truth lead us to conclude that there is something dreadful or awful about death, something that merits distress?

This guest column marks the tenth anniversary of the death of Jacques Derrida. The journal in which it appears, Common Knowledge, was not especially receptive to deconstruction during Derrida's lifetime, but Lesley Chamberlain in retrospect sees reasons to reconsider his role in intellectual history now. The delicacy of Derrida's mission, she argues, has been misunderstood. He is best placed in the company not of the “deconstructionists” who thought to follow in his footsteps but, rather, in the company of the moralistic (...) and theologically minded German philosophers and thinkers who inspired him, from Kant and Hegel to Heidegger and Walter Benjamin. A personal fear of being pinned down, coupled with his tragic Jewish witness to a philosophical quest for certainty gone astray, led the “Sad Rider,” one of many possible Derridas, to want to “erase” as much as he wanted to write — despite which, he was not spared being turned into an industry. (shrink)

Mood has varied effects on cognitive performance including the accuracy of face recognition . Three experiments are presented here that explored face recognition abilities in mood-induced participants. Experiment 1 demonstrated that happy-induced participants are less accurate and have a more conservative response bias than sad-induced participants in a face recognition task. Using a remember/know/guess procedure, Experiment 2 showed that sad-induced participants had more conscious recollections of faces than happy-induced participants. Additionally, sad-induced participants could recognise all faces accurately, whereas, happy- and (...) neutral-induced participants recognised happy faces more accurately than sad faces. In Experiment 3, these effects were not observed when participants intentionally learnt the faces, rather than incidentally learnt the faces. It is suggested that happy-induced participants do not process faces as elaborately as sad-induced participants. (shrink)

This book reports on the contrastive-semantic investigation of sadness expressions between English and Chinese, based on two monolingual general corpora and a parallel corpus. The exploration adopts a unique theoretical approach which integrates corpus-linguistic theories on meaning (as a social construct, usage and paraphrase) with a corpus-linguistic lexical model. It employs a new complex but workable methodology which combines computational tools with manual examination to tease meaning out of corpus evidence, to compare and contrast lexical items that do not (...) match up neatly between languages. It looks at sadness expressions both within and across languages in terms of three corpus-linguistic structural categories, i.e. colligation, collocation and semantic association/preference, and paraphrase (both explicit and implicit) to capture their subtle nuances of meaning, disclose the culture-specific conceptualisations encoded in them, and highlight their respective cultural distinctiveness of emotion. By presenting multidisciplinary original work, Sadness Expressions in English and Chinese will be of interest to researchers in corpus linguistics, contrastive lexical semantics, psychology, bilingual lexicography and language pedagogy. (shrink)

This study investigates how sadness and minor/moderate depression influences the three functions of attention: alerting, orienting, and executive control using the Attention Network Test. The aim of the study is to investigate whether minor-to-moderate depression is more similar to sadness or clinical depression with regard to attentional processing. It was predicted that both induced sadness and minor-to-moderate depression will influence executive control by narrowing spatial attention and in turn this will lead to less interference from the flanker (...) items due to a focused attentional state. No differences were predicted for alerting or orienting functions. The results from the two experiments, the first inducing sadness and the second measuring subclinical depression, show that, as expected, participants who are sad or minor to moderately depressed showed less flanker interference compared to participants who were neither sad nor depressed. This study provides strong evidence, that irrespective of its aetiology, sadness and minor/moderate depression have similar effects on spatial attention. (shrink)

Since Kraeplin and Kretschmer, the clarification of the limits between ordinary sadness and clinical depression has been a major concern. Much of the controversy has focused on whether and on which bases can be fixed a boundary in the continuum from the experience of sadness to major depressive episode. The new emphasis on the role of clinical judgment introduced by DSM-5 can be regarded as a way to address these issues, though leaving several questions open. After examining the (...) implications of the main topics raised by this still ongoing discussion, we will argue that in a clinical reality both mobility and intensity of emotional states may account for the discontinuity between ordinary sadness and clinical depression. (shrink)

But never let it be doubted that depression, in its extreme form, is madness. (Styron, 1990, p. 62)There is nothing wrong with our biology or our intelligence; sometimes we are just stuck. (Cvetkov...

This book offers both an introduction to the methods and language of moral psychology as a philosophical field, and to sadness as an emotion.

Presented here is a new result concerning the computational power of so-called SADn computers, a class of Turing-machine-based computers that can perform some non-Turing computable feats by utilising the geometry of a particular kind of general relativistic spacetime. It is shown that SADn can decide n-quantifier arithmetic but not (n+1)-quantifier arithmetic, a result that reveals how neatly the SADn family maps into the Kleene arithmetical hierarchy. Introduction Axiomatising computers The power of SAD computers Remarks regarding the concept of computability.

The term ‘consciousness’ is a latecomer upon the stage of Western philosophy. The ancients had no such term. Sunoida, like its Latin equivalent conscio, meant the same as ‘I know together with’ or ‘I am privy, with another, to the knowledge that’. If the prefixes sun and cum functioned merely as intensifiers, then the verbs meant simply ‘I know well’ or ‘I am well aware that’. Although the ancients did indeed raise questions about the nature of our knowledge of our (...) own perceptions and thought, and introduced the idea of an inner sense, they did not characterize the mind as the domain of consciousness. Aristotelians conceived of the mind as the array of powers that distinguish humanity from the rest of animate nature. The powers of self-movement, of perception and sensation, and of appetite, are shared with other animals. What is distinctive of humanity, and what characterizes the mind, are the powers of the intellect – of reason, and of the rational will. Knowledge of these powers is not obtained by consciousness or introspection, but by observation of their exercise in our engagement with the world around us. The mediaevals followed suit. They likewise lacked any term for consciousness, although they too indulged in reflections upon ‘inner senses’ – in the wake of Avicenna's distinguishing, arguably to excess, five such senses. (shrink)

We examined liking for happy- and sad-sounding music as a function of exposure, which varied both in quantity (number of exposures) and in quality (focused or incidental listening). Liking ratings were higher for happy than for sad music after focused listening, but similar after incidental listening. In the incidental condition, liking ratings increased linearly as a function of exposure. In the focused condition, liking ratings were an inverted U-shaped function of exposure, with initial increases in liking (after 2 exposures) followed (...) by decreases (after 8 or 32 exposures). The results documented that: (1) sad music is liked as much as happy music in some instances; (2) frequency of exposure causes both familiarity (positive) and over-familiarity (negative) effects; and (3) effects of exposure on liking differ for focused and incidental listening. (shrink)

Contemporary research has showcased many benefits of nostalgia, but its bittersweet character and historical reputation as unhealthy raise the possibility of less favorable impacts. In recent studies, daily diary data highlighted nostalgia’s mixed valence and suggested that nostalgia is more strongly associated with negative feelings. Variables that influence the adaptive or maladaptive dimensions of nostalgia have not yet been fully explored. Recently, a focus on when nostalgia is experienced relative to past and future was introduced in the construct of anticipatory (...) nostalgia, missing the present prematurely before it has become past. Distinct from personal nostalgia, anticipatory nostalgia was found to be characterized by difficulty enjoying the present and a tendency toward sadness and worry. The present study examines the distinctive dynamics at play in anticipatory and personal nostalgia by exploring the relationship between each type of dispositional nostalgia and reported experience with happy and sad stories. The Nostalgia Inventory, the Survey of Anticipatory Nostalgia, and a brief form of the PANAS were completed by 144 undergraduates (110 women), who rated their exposure and reactions to happy and sad stories. Reported frequency of exposure to happy and sad stories was related to dispositional happiness and sadness. Personal and anticipatory nostalgia did not differ in frequency of exposure to happy and sad stories, but they did differ in reactivity to and learning from sad stories. Findings highlight the importance of the timing of nostalgia, consistent with the distinction between nostalgia for the past and nostalgia for what is still present. (shrink)

Perceptual load plays a critical role in identification and awareness of stimuli. Given the differences in emotion–attention interactions, we investigated the perception of distractor emotional faces in two different load conditions under divided attention with a task based on the inattentional blindness paradigm. Participants performed a low- or high-load task with a string of letters presented against a happy, sad or neutral face (in a circular form) as the background. Participants were asked to identify the face that appeared in the (...) critical trial. Results indicate an interaction between emotion and load. First, identification of faces with happy expression was better than chance and unaffected by load. Second, performance was worse than chance for faces with sad expression in the high-load condition, indicating inhibition of unattended sad distractor faces in the critical trial. This indicates that inhibitory processes during a difficult attentional task under divided attention influence subsequent perception of distractor stimuli especially sad faces. The results have implications for the theories of selective attention as well as the role of emotions in conscious perception. (shrink)

Victorian poets Elizabeth Barrett (1806-1861) and Robert Browning (1812-1889) first fell in love through letters, which they began to write to each other in 1845 (Figures 1 and 2). Their growing relationship, slowly progressing from letter to first encounter and eventual secret marriage in 1846, is documented in two volumes of letters, with a plot that unfolds as warmly and compellingly as the best page-turner invented by a novelist. Both were master wordsmiths, so the beauty of their letters is no (...) surprise. But one reason Barrett Browning was such a prolific correspondent is that she spent much of her life housebound, due to an illness whose nature was never truly explained when she was alive and that has been.. (shrink)

Introspective as well as empirical evidence indicates that emotions shape our thinking in numerous ways. Yet, this modificatory aspect of emotions has received relatively little interest in the philosophy of emotion. I give a detailed account of this aspect. Drawing both on the work of William James and adverbialist conceptions of perception, I sketch a theory of emotions that takes these aspects into consideration and suggest that we should understand emotions as manners of thinking.

ABSTRACTRecognising a facial expression is more difficult when the expresser's body conveys incongruent affect. Existing research has documented such interference for universally recognisable bodil...