Darwin discusses why different muscles are brought into action under different emotions and how particular animals have adapted for association with man.

Sue Campbell reinstates the personal as an important dimension in analytic philosophy of mind. She argues that the category of feelings has a unique role in psychological explanation: the expression of feelings is the attempt to communicate personal significance. To develop a model for affective meaning, the author moves attention away from the classic emotions to feelings that are more personal, inchoate, and idiosyncratic.

We are defined by our faces. They give identity but, equally importantly, reveal our moods and emotions through facial expression. So what happens when the face cannot move? This book is about people who live with Mbius Syndrome, which has as its main feature an absence of movement of the muscles of facial expression from birth.

In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...) literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

I argue for the recognition of a particular kind of interest that one has in freedom of expression: an interest served by expressive activity in forming and discovering one’s own beliefs, desires, and commitments. In articulating that interest, I aim to contribute to a family of theories of freedom of expression that find its justification in the interests that speakers have in their own speech or thought, to be distinguished from whatever interests they may also have as audiences or third (...) parties for speech. Although there are many differences among such speaker-centered theories, a core commitment that most share is that expressive liberty plays a fundamental role in securing or constituting some form of individual self-realization. My account is a defense and elaboration of what I take to be one specific way in which the nature of such self-realization should be understood. In my proposal, self-realization is sometimes internally related to the very activity of expression, viz, expressing ourselves is one way in which we come to form and know our own minds. (shrink)

Research on facial emotion expression has mostly focused on emotion recognition, assuming that a small number of discrete emotions is elicited and expressed via prototypical facial muscle configurations as captured in still photographs. These are expected to be recognized by observers, presumably via template matching. In contrast, appraisal theories of emotion propose a more dynamic approach, suggesting that specific elements of facial expressions are directly produced by the result of certain appraisals and predicting the facial patterns to be expected for (...) certain appraisal configurations. This approach has recently been extended to emotion perception, claiming that observers first infer individual appraisals and only then make categorical emotion judgments based on the estimated appraisal patterns, using semantic inference rules. Here we report two related studies to empirically investigate the facial action unit configurations that are used by actors to convey specific emotions in short affect bursts and to examine to what extent observers can infer a person’s emotions from the predicted facial expression configurations. The results show that 1) professional actors use many of the predicted facial action unit patterns to enact systematically specified appraisal outcomes in a realistic scenario setting, and 2) naïve observers infer the respective emotions based on highly similar facial movement configurations with a degree of accuracy comparable to earlier research findings. Based on estimates of underlying appraisal criteria for the different emotions we conclude that the patterns of facial action units identified in this research correspond largely to prior predictions and encourage further research on appraisal-driven expression and inference. (shrink)

Taking as its starting point what is sometimes called 'the prison house of language' - the widespread feeling that language falls terribly short when it comes to articulating the rich and disparate contents of the human mental tapestry - this book sets out a radically new view of the interplay between language, literature and mind. Shifting the focus from the literary text itself to literature as a case of human agency, it reconsiders a wide range of interdisciplinary issues including the (...) move from world to mind, the existence or otherwise of a property of literariness or essence of art, the nature of literature as a unique output of human cognition and the possible distinctiveness of the mind that creates it. In constant dialogue with philosophy, linguistics and the cognitive sciences, this book offers an invaluable new treatment of literature and literary language, and sketches novel directions for literary study in the twenty-first century. (shrink)

Deleuze and jurisdiction : expressionism in jurisprudence -- Personal jurisdiction : the "method of dramatization" in the law of persons -- Minority and personal jurisdiction : judging sex in re alex -- Persons of animal law -- Deleuze, the law of things and subject-matter jurisdiction -- To put to flight : the right of possession -- The activity of judgment : law of actions and the procedural genre of jurisprudence -- Jurisdiction of control : judgment and procedural forms in Thomas (...) v Mowbray -- The locality of law : jurisdiction in Deleuze. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Past research has found that skin colouration, particularly facial redness, influences the perceived health and emotional state of target individuals. In the current work, we explore several extensions of this past research. In Experiment 1, we manipulated facial redness incrementally on neutral and angry faces and had participants rate each face for anger and health. Different red effects emerged, as perceived anger increased in a linear manner as facial redness increased. Health ratings instead showed a curvilinear trend, as both extreme (...) paleness and redness were rated as less healthy than moderate levels of red. Experiment 2 replicated and extended these findings by manipulating the masculinity of both angry and neutral faces that varied in redness. The results found the effect of red on perceived anger and health was moderated by masculine face structure. Collectively, these results show that facial redness has context dependent effects that vary based on facial expression, appearance, and differentially impact ratings of emotional states and health. (shrink)

The biogenesis of RNAs and proteins is a threat to the cell. Indeed, the act of transcription and nascent RNAs challenge DNA stability. Both RNAs and nascent proteins can also initiate the formation of toxic aggregates because of their physicochemical properties. In reviewing the literature, I show that co-transcriptional and co-translational biophysical constraints can trigger DNA instability that in turn increases the likelihood that sequences that alleviate the constraints emerge over evolutionary time. These directed genetic variations rely on the biogenesis (...) of small RNAs that are transcribed directly from challenged DNA regions or processed from the transcripts that directly or indirectly generate constraints or aggregates. These small RNAs can then target the genomic regions from which they initially originate and increase the local mutation rate of the targeted loci. This mechanism is based on molecular pathways involved in anti-parasite genome defence systems, and implies that gene expression-related biophysical constraints represent a driving force of genome evolution. Are randomly generated mutations the only source of genetic variation during evolution? This paper describes the molecular mechanisms by which co-transcriptional and co-translational biophysical constraints trigger genetic variations in targeted-genomic sequences in an RNA-depending manner. This directed-mutational process that drives genome evolution is related to antiparasite genome defence systems. (shrink)

This paper explores how Wundt’s and Bühler’s respective conceptions of gestural expression have implications for how each conceives of what, in broad terms, may be understood as a ‘grammar of gestures’: that is, the rules for the formation and performance of gestures with and without speech. Unlike previous scholarship that has looked at the relationship of Wundt and Bühler, the aim here will be to give particular attention to the relevance of their respective accounts for current philosophical and linguistic research (...) on gesture. Building off of Bühler, we can offer an alternative to the psychologistic and solipsistic model of gestural expression that can be found in Wundt and that seems to be resurgent today in work by McNeil and others. Via Bühler’s notions of diacrisis and of the underlying functions that guide human communication, we propose an understanding of the relationship between gestures and speech that aims to render accurately both the highly contextualised and the highly structured conditions of their mutual employment. (shrink)

this paper argues that people are entitled to keep some true facts about themselves to themselves, should they so wish, as a sign of respect for their moral and political status, and in order to protect themselves from being used as a public example in order to educate or to entertain other people. The “outing” - or non-consensual public disclosure - of people’s health records or status, or their sexual behaviour or orientation is usually unjustified, even when its consequences seem (...) to be beneficial. Indeed, the paper claims, the reasons to reject outing, as inconsistent with democratic commitments to freedom and equality, are reasons to insist on the importance of privacy to freedom of expression. While a free press is of the utmost importance to democratic government, it is not identical with the free expression of individuals and, on occasion, the former may have to be constrained in order to protect the latter. [Barendt, 2007, 231]. Hence, the paper concludes, we should distinguish the claims of individuals to publish reports about their lives – even if this necessarily involves revealing the private lives of others – from journalistic claims to publish information about the sex lives of consenting adults. I will start by briefly situating my argument within a democratic approach to privacy, before using the “outing” of Oliver Sipple to examine people’s claims to privacy and their implications for freedom of expression and of the press. I will be assuming that some forms of privacy are legitimate, in order to focus more closely on the question of what information, if any, people may keep to themselves. (shrink)

This paper elaborates on the deliberative democracy argument for freedom of expression in terms of its relationship to different dimensions of autonomy. It engages the objection that Enlightenment theories pose a threat to cultures that reject autonomy and argues that autonomy-based democracy is not only compatible with but necessary for respect for cultural diversity. On the basis of an intersubjective epistemology, it argues that people cannot know how to live on mutually respectful terms without engaging in public deliberation and developing (...) some degree of personal autonomy. While freedom of expression is indispensable for deliberation and autonomy, this does not mean that people have no obligations regarding how they speak to each other. The moral insights provided by deliberation depend on the participants in the process treating one another with respect. The argument is related to the Danish cartoon controversy. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

In many vertebrates, the enzymatic oxidation of dietary yellow carotenoids generates red keto‐carotenoids giving color to ornaments. The oxidase CYP2J19 is here a key effector. Its purported intracellular location suggests a shared biochemical pathway between trait expression and cell functioning. This might guarantee the reliability of red colorations as individual quality signals independent of production costs. We hypothesize that the ornament type (feathers vs. bare parts) and production costs (probably CYP2J19 activity compromising vital functions) could have promoted tissue‐specific gene relocation. (...) We review current avian tissue‐specific CYP2J19 expression data. Among the ten red‐billed species showing CYP2J19 bill expression, only one showed strong hepatic expression. Moreover, a phylogenetically‐controlled analysis of 25 red‐colored species shows that those producing red bare parts are less likely to have strong hepatic CYP2J19 expression than species with only red plumages. Thus, both production costs and shared pathways might have contributed to the evolution of red signals. (shrink)

(2013). Freedom of Expression v. Social Responsibility: Holocaust Denial in Canada. Journal of Mass Media Ethics: Vol. 28, No. 1, pp. 42-56. doi: 10.1080/08900523.2012.746119.

This paper is an attempt to explicate the relationship between Spinozist expressionism and philosophical constructivism in Deleuze's work through the concept of immanent causality. Deleuze finds in Spinoza a philosophy of immanent causality used to solve the problem of the relation between substance, attribute and mode as an expression of substance. But, when he proceeds to take up this notion of immanent causality found in Spinoza in Difference and Repetition, Deleuze instead inverts it into a modal one such that the (...) identity of substance may be said only of the difference of the modes. Complicating this further, Deleuze and Guattari claim in A Thousand Plateaus that substance, attribute, and mode are each, themselves, multiplicities. What is Philosophy? takes up immanent causality once again, this time through a constructivist lens aimed at resolving the question of the relation between philosophical multiplicities: ‘plane,’ ‘persona,’ and ‘concept.’ By following the different formulations of immanent causality in these works this essay hopes to discover the relationship between Spinozist expressionism and philosophical constructivism in Deleuze's work. (shrink)

Event synopsis: The conference becomes a major academic event for republican studies in Russia and a meeting point with the leading European scholars in this field. In recent decades republicanism has become one of the central concerns in political theory and history, with studies exploring both republicanism as ‘a shared European heritage’ and reviving republican political thought to contribute to current debates on issues such as freedom, citizenship, equality, governance and international relations. Republicanism has been the topic of many seminars (...) at the European University at St. Petersburg (EUSP) and the European University Institute (EUI) in Florence. This time the conference focuses on the history of republican institutions, both in terms of ‘political thought’ and ‘cultural practices’. The emphasis of the conference is on the study of late medieval, early-modern and modern republican debates in Europe and North-Western Russian regions. The conference explores the institutional structures of city-republics in comparative perspective as well as the dynamics of relations between these entities in terms of cultural and intellectual exchange. The cross-cultural and comparative perspective of the conference asks for studies focusing on the transfers of knowledge and practices between city-republics and other regional powers, their shared heritage and diverging cultural and national trajectories. The conference wants to explore a variety of topics related to the functioning of economic, legal and political institutions devised to sustain non-authoritarian regimes. These can include studies of material artifacts and official documentation as well as studies of republican political thought reflecting on the internal constitution of republics and the differences with the ‘despotic’ governments. An important aim of the conference is to set up a new research network, bringing together scholars from different disciplinary and methodological backgrounds, including diverse strands of history, conceptual history and political theory. The aim is to initiate a systematic comparison of Western, Northern and Eastern European republics at conceptual and institutional levels. (shrink)