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The colours in the peacock tail are particularly beautiful because they are bright and
iridescent. An iridescent colour is a colour that changes with the angle of view. The
colours are not produced by pigments but by an optical effect called thin-film
interference that takes place in the barbules.4 In technical terms, the peacock has
‘structural colours’.
In the eye pattern, the barbules appear bronze, blue, dark purple and green. Away
from the eye region, the barbules are uniformly green. The colours in the eye
feather can only be seen on the front surface of the feather because this is where
the barbules are positioned. The back of the feather is uniformly brown because the
barbs contain a brown pigment.
The eye pattern: The particular beauty of the eye pattern comes from the
rounded shapes that have a high degree of resolution. The ‘pupil’ of the eye is
formed by a dark purple cardioid and the ‘iris’ is formed by a blue ellipsoid. These
shapes are located within a pointed bronze ellipsoid that is surrounded by one or
two green fringes. A very important feature of the eye pattern is that it is a digital
pattern which is formed by the combined effect of many thousands of individual
barbules. Some patterns in nature are formed by natural growth mechanisms, as
with the spiral shape of the nautilus shell. However, the eye pattern in the peacock
tail requires the precise coordination of independent barbs and this cannot be
achieved by a simple growth mechanism. Barbules on adjacent barbs coordinate
perfectly with each other to produce the eye pattern.
The peafowl are forest birds that nest on the ground but roost in trees. They are terrestrial feeders.
No aspect of our mental life is more important to the quality and meaning of our
existence than emotions. They are what make life worth living, or sometimes ending.
So it is not surprising that most of the great classical philosophers—Plato, Aristotle,
Spinoza, Descartes, Hobbes, Hume—had recognizable theories of emotion,
conceived as responses to certain sorts of events of concern to a subject, triggering
bodily changes and typically motivating characteristic behavior. What is surprising is
that in much of the twentieth-century philosophers of mind and psychologists
tended to neglect them—perhaps because the sheer variety of phenomena covered
by the word “emotion” and its closest neighbors tends to discourage tidy theory. In
recent years, however, emotions have once again become the focus of vigorous
interest in philosophy, as well as in other branches of cognitive science. In view of
the proliferation of increasingly fruitful exchanges between researches of different
stripes, it is no longer useful to speak of the philosophy of emotion in isolation from
the approaches of other disciplines, particularly psychology, neurology, evolutionary
biology, and even economics. While it is quite impossible to do justice to those
approaches here, some sidelong glances in their direction will aim to suggest their
philosophical importance.
Basic
Basic opposite
emotion
Joy Sadness
Trust Disgust
Fear Anger
Surprise Anticipation
Sadness Joy
Disgust Trust
Anger Fear
Anticipation Surprise
Disappointmen
Optimism Anticipation + Joy
t
Anger + Anticipatio
Aggressiveness Awe
n