The strange alchemy

by Dylan Evans

0 Faves
Vote!
1 Star2 Stars3 Stars4 Stars5 Stars
Loading ... Loading ...

“The heart has its reasons of which reason knows nothing”, wrote the philosopher Blaise Pascal. People once thought that emotions and rational thought travelled along parallel lines that never converged.
Philosophers and scientists dismissed emotions as being of little interest – they were believed to hamper rational behaviour. But for some time now scientists have begun to reverse this negative prejudice. One example is the Wellcome Trust, which recently gave 1.3 billion euros to London’s University College to study the structures in the brain that make us decide whether we like something or not. Can we really speak of a science of sentiment? We talked about it to Dylan Evans.

Is there a conflict between emotion and rationality?
Emotions affect our decisions much more than our rational thoughts do – and not because we are irrational. In most everyday situations, we do not have enough time to gather all the information we need before deciding. For example, faced with a barking dog, it is “rational” to follow your emotions. Emotions also save us from certain limits of logic: if I like someone, before asking them out, I could write down all the pros and cons on a piece of paper. But that would hardly be appealing to a prospective partner. Emotions and rationality alternate and complement each other all the time – they have a strange kind of alchemy.

Emotions have always been the prerogative of artists and literary types, but not of scientists…
About fifteen years ago, various scientific disciplines began studying emotions all at about the same time. This is because they found it impossible to explain human behaviour without talking about emotions. Above all, there were the neuroscientists, who studied people incapable of feeling emotion due to brain trauma. They saw how our emotional side can really help us to make the right decisions. Excellent results have also been obtained in the field of artificial intelligence, in terms of building robots which incorporate mechanisms that mimic emotions.

Are emotions innate, or are they products of culture?
Joy, fear, anger, suffering, surprise and disgust are primitive emotions, a kind of universal language. They are innate, and we all have them, regardless of our race, age, or level of education. Smiling at people generally triggers a positive response. The same applies to music, which tends to have a positive effect on mood. But different cultures can generate very different ways of thinking and feeling. This is also true of the link with triggering stimuli. Faced with a number, for example, we might be happy because it reminds us of the number that won us the lottery – or we might be sad because it makes us think of someone who’s died.

Is there a hierarchy of emotions?
Higher cognitive emotions, such as love and hate, need more time to how themselves compared to the basic ones such as anger or surprise, which are instinctive responses to a stimulus. Higher emotions tend to resemble a state of mind, rather than an emotion in the truest sense.

Films, commercials and the media subject us to a constant bombardment of stimuli. Does the level of surprise have to keep on rising to excite us?
Nowadays we have become desensitised to stimuli that were once unknown. A child used to listening to hip hop or heavy metal on his iPod is unlikely to be moved by an old piece of classical music. There is an increasing need to be amazed by speed, rhythm or exciting graphics. There is now also an established idea that things aren’t interesting unless they are constantly updated.

You call yourself an evolutionary psychologist…
Emotions have been a fundamental part of our evolution because they have directed our decisions towards things that allow us to survive. Take high-energy foods, for example, a quick way of enabling us to store resources we need to survive periods of hardship. Evolution played its part by making us sensitive to those tastes, urging us to look for them when they were in short supply. Of course, now that all we need to do is open the fridge, things are a little different. The obesity epidemic is proof of that.
The same applies for food that’s harmful to our health, such as food that has gone off: the aversion we feel is due to its smell, unpleasant taste or appearance, which triggers a sense of revulsion in us that has developed over time.

Can we live without emotions?
No. Without emotions we would never have evolved. Dr. Spock, the Vulcan of Star Trek, could not experience emotion. In reality, he could never have existed.

Interview by Mauro Scanu


Dylan Evans is a cognitive psychologist who works as a researcher at the Cork Constraint Computation Centre at Cork University College, Ireland. He has published a series of scientific articles on the role that emotions and pain play in human conduct. He has written a number of essays on this topic, including Emotion: the science of sentiment, published in Italy by Laterza, and Placebo: The Belief Effect, published by Harper Collins in 2004. A talented communicator, he regularly works for the English newspaper The Guardian, and works as a DJ in his spare time.


Write a comment

Click here to login
Comment required
First name required
Last name required

Nickname required
Email required
Captcha required
Captcha Code required

Information on protection of privacy I agree I don't agree

Images

  • Silja Nordhoff

    ZEITGENÜSSISCHES. 2008

  • Wolfgang Günzel

    Städelschule / Portikus

  • Janus Hochgesand

    SURVIVAL CAVE FOR KURT COBAIN. 2007

  • Andrei Koschmieder

    SCYSCRAPER. 2006

  • Maria von Hausswolff

    Public space from New York - WOOD AND TREE. 2007

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    View from the inside of the installation Zeitgenüssisches. 2007

  • Andrei Koschmieder

    BLING BLING BANG BANG. 2006

  • Andrei Koschmieder

    CATALOGUES. I found these catalogues produced by artists in the Nineties. By cutting out the images and text the catalogue lost all it’s content. 2003

  • Andrei Koschmieder

    SHELF, N-P. 2007

  • Hanna Hildebrand

    VERY WELL INSTALLED. Everything in this kitchen seems there by chance, as if would be part of the life flow but in the same time seems absolutely well placed. Like watching an advertisement photo, there is a recognition of something familiar and as well of something totally artificial.

  • Andrei Koschmieder

    O.T., 2007

  • Andrei Koschmieder

    O.T., 2007

  • "Where I am, makes me what I am"

    Anonymous at Galleria illy London

  • “The time is always right to do the right thing”

    Martin Luther King

  • "Liberty is about our rights to question everything".

    Ai Wei Wei

Headline & Editorial

Headline & Editorial

Last Issue: #31 The Journey

Twenty thousand leagues under the sea by Jules Verne (1825-1905). This book is the answer to my thoughts on travel. It certainly anticipated the saga...
Read more
People

People

For several years, the magazine has published dialogues, opinions and points of view on themes dear to a company living in the contemporary world.  Topics have covered space, courage, dreams,...
Read more
Schools

Schools

On the pages of illywords, the works of writers, artists and established professionals are the inspiration for the ideas and images of emerging artists, photographers and...
Read more

Contacts

You can leave your comment on the blog pages, asking everything you want to know.
Read more

Where to find

illywords is distributed at the most important cultural events of design and art supported by illy, and it is also available at leading bookshops the world over.
Read more