Using Chicago as our case, this article puts forth a notion of black placemaking that privileges the creative, celebratory, playful, pleasurable, and poetic experiences of being black and being around other black people in the city. Black placemaking refers to the ways that urban black Americans create sites of endurance, belonging, and resistance through social interaction. Our framework offers a corrective to existing accounts that depict urban blacks as bounded, plagued by violence, victims and perpetrators, unproductive, and isolated from one (...) another and the city writ large. While ignoring neither the external assaults on black spaces nor the internal dangers that can make everyday life difficult, we highlight how black people make places in spite of those realities. Our four cases – the black digital commons, black public housing reunions, black lesbian and gay nightlife, and black Little League baseball – elucidate the matter of black lives across genders, sexualities, ages, classes, and politics. (shrink)

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)

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)

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)

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)

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.

Juslin & Vll (J&V) think that all emotions aroused by music have the music itself as their Some of the mechanisms they discuss almost certainly involve both cognitive appraisals and intentional objects. But some of the mechanisms are non-cognitive: they involve neither cognitive appraisals nor intentional objects. Partly for this reason they may produce moods rather than emotions proper.

Bob Solomon used to inveigh against William James’ theory of emotions, but he eventually arrived at a rapprochement with James and James’s recent successors. In particular, James suggested that emotions are initiated by the “automatic, instinctive” appraisals that register important information in the body and are recorded by body-mapping brain areas. In recent work Solomon describes the judgments he thinks constitute emotions as felt bodily appraisals in similar fashion.

In order to promote new ways of thinking about musical meaning, this volume brings together scholars in music theory, musicology, and the philosophy of music,..

In Sight and Sensibility Dominic Lopes argues that expressiveness in pictures should be analyzed on the model of the “contour” theory of musical expressiveness, according to which an “expression” need not express anything about the inner psychological states of a person. According to his “contour theory of pictorial expression,” expression by scenes and designs requires “no being to whom the expressed emotion is attributable”. However, on this account expression has lost its fundamental raison d’être, that of manifesting somebody’s actual emotional (...) states. By contrast, I argue that successful works of pictorial expression depict the way the world appears to someone when in some emotional state. Moreover, the emotional attitude thus expressed by the work is an important unifying principle for pictures, and hence an important artistic value. (shrink)

Recent financial fraud legislation such as the Dodd–Frank Act and the Sarbanes–Oxley Act (U.S. House of Representatives, Dodd-Frank Wall Street Reform and Consumer Protection Act of 2010, [H.R. 4173], 2010 ; U.S. House of Representatives, The Sarbanes–Oxley Act of 2002, Public Law 107-204 [H.R. 3763], 2002 ) relies heavily on whistleblowers for enforcement, and offers protection and incentives for whistleblowers. However, little is known about many aspects of the whistleblowing decision, especially the effects of contextual and wrongdoing attributes on organizational (...) members’ willingness to report fraud. We extend the ethics literature by experimentally investigating how the nature of the wrongdoing and the awareness of those surrounding the whistleblower can influence whistleblowing. As predicted, we find that employees are less likely to report: (1) financial statement fraud than theft; (2) immaterial than material financial statement fraud; (3) when the wrongdoer is aware that the potential whistleblower has knowledge of the fraud; and (4) when others in addition to the wrongdoer are not aware of the fraud. Our findings extend whistleblowing research in several ways. For instance, prior research provides little evidence concerning the effects of fraud type, wrongdoer awareness, and others’ awareness on whistleblowing intentions. We also provide evidence that whistleblowing settings represent an exception to the well-accepted theory of diffusion of responsibility. Our participants are professionals who represent the likely pool of potential whistleblowers in organizations. (shrink)

Understanding the clinical significance of variants associated with hereditary cancer risk requires access to a pooled data resource or network of resources—a “cancer gene variant commons”—incorporating representative, well-characterized genetic data, metadata, and, for some purposes, pathways to case-level data. Several initiatives have invested significant resources into collecting and sharing cancer gene variant data, but further progress hinges on identifying and addressing unresolved policy issues. This commentary provides insights from a modified policy Delphi process involving experts from a range of stakeholder (...) groups involved in the data-sharing ecosystem. In particular, we describe policy issues and options generated by Delphi participants in five domains critical to the development of an effective cancer gene variant commons: incentives, financial sustainability, privacy and security, equity, and data quality. Our intention is to stimulate wider discussion and lay a foundation for further work evaluating policy options more in-depth and mapping them to those who have the power to bring about change. Addressing issues in these five domains will contribute to a cancer gene variant commons that supports better care for at-risk and affected patients, empowers patient communities, and advances research on hereditary cancers. (shrink)

There are few writers on philosophical aesthetics who are such a pleasure to read as Peter Kivy, so a new book by him is always reason for celebration. In this latest volume all the Kivy virtues are on display: clear, careful argument and good sense, conveyed in an urbane and conversational style. The main theme of the book is that aestheticians have spent too much time discussing general theories of art that emphasize what the various art forms have in common, (...) and not enough time examining the many differences among the arts. Throughout the book he discusses particular issues rather than general theories, thereby taking his own advice that “modest undertakings, rather than grand designs are the order of the day”. (shrink)

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)