This chapter contains sections titled: An Initial Response The Challenge Reconfigured Passivity Within Spontaneity Mood Mood, Salience and Shape Music Education Conclusion.

Two issues in Cowley’s book Medical Ethics, Ordinary Concepts and Ordinary Lives are discussed. The first is methodological and it concerns the relation between the personal and the impersonal perspectives. An apparent problem is represented by some uncertainties in the interpretation of their relation in Cowley’s proposal. In some cases presented by Cowley, although the agents do not give up the requirements of the personal perspective, their actions correspond to the requirements of the impersonal perspective. The (...) question is how did the agent make the decision? The other issue is that the personal perspective, as described in some cases, seems to be concerned only by reasons relevant to the subject herself. The question is whether such a perspective may be properly called moral, or it rather deserves to be qualified as prudential, egocentric or egoistic.The second issue regards organ donation, where Cowley contrasts the cultural discourse endorsed by people personally involved because of their links to the dead person, and the bioethicists’ discourse. Some empirical data seem to challenge this distinction. (shrink)

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical (...) background is provided in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such, there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making. (shrink)

In this paper, I propose a comparison between some widely accepted Quinian views and Ludwig Wittgenstein's remarks on the logical and the empirical in On Certainty. While Quine's perspective and Wittgenstein's aare not thorougly dissimilar (so that the question of which influence Wittgenstein's thought might have had on the thought of some contemporary philosopher like Quine is both interesting and relevant), there is at least one important difference between them. I submit that Wittgenstein's view on this crucial (...) distinction are more general but ultimately more plausible than the nowadays popular Quinian view. (shrink)

The aesthetic realist interprets many descriptions of music as metaphorical descriptions of aesthetic properties of music. I argue that aesthetic realism requires that nonaesthetic words are used to express both aesthetic and nonaesthetic concepts. But having distinguished the concepts, some plausible account must be given of their relation. A causal account of the relation between the possession of aesthetic and nonaesthetic concepts provides this, since the concepts are distinct but connected. I explore and defend this (...) account. I consider the conditions of aesthetic concept possession and also the appropriation of nonaesthetic words in aesthetic descriptions. (shrink)

This article presents a detailed, novel account of the emergence of (the meaning of) empirical concepts. Acquiring experience and empirical concepts is shown to be the result of multifaceted, cognitive processes, which require both material realization and conceptual interpretation. Generally speaking, the meaning of empirical concepts consists of several distinct components, but it includes at least a structuring and an abstracting component. These two meaning components are abstract entities, which can be justifiably interpreted as (...) real objects.On this basis, I address the subject of emergence. The primary claim is that the abstracting meaning component (but not the structuring one) emerges from its underlying empirical processes: it both depends on and transcends these processes. This claim is expounded by discussing relevant similarities and dissimilarities between the emergence of abstract meanings and a range of central features of emergence prominent in recent debates on this topic. The conception of empirical concepts with emergent abstracting meaning components involves an interpretation that avoids the problematic extremes of both empiricism and Platonism. (shrink)

Hume begins ‘Of scepticism with regard to the senses,’ Section 2 of the Treatise, Book I, Part iv with the claim that it is otiose to ask whether or not there are bodies since belief in their existence is unavoidable. The appropriate question is rather ‘What causes induce us to believe in the existence of body?’ (§2, 187-8; his emphasis). For Hume, belief is lively conception. Hence, he is also undertaking to answer the logically prior question: What causes induce us (...) to form the concept of body? Hume wants to explain the ordinary notion of, and belief in, external objects as part of his science of human nature. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an (...) account of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

The target article inventories mechanisms underlying musical emotions. We argue that the inventory misses important mechanisms and that its structure would benefit from the distinction between two types of musical emotions. We also argue that the authors' claim that appraisal does not play a crucial role in the causation of musical emotions rests on a narrow conception of appraisal.

Properties and concepts are similar kinds of thing in so far as they are both typically understood to be whatever it is that predicates stand for. However, they are generally supposed to have different identity criteria: for example, heat is the same property as molecular kinetic energy, whereas the concept of heat is different from the concept of molecular kinetic energy. This paper examines whether this discrepancy is really defensible, and concludes that matters are more complex than is generally (...) thought. The distinction between canonical and non-canonical designators, as applied to such entities as propositions, properties and concepts, is examined, as are causal realist accounts of the semantics of such terms as ‘electricity’ and ‘mass’. (shrink)

Critique is a concept that is constantly used as an instrument for agreement or disagreement, for reflection and discussion. There is a difference, however, between critique as a historically grounded phenomenon and critique as a utopian conception not situated in any particular socio-historical context. Educational theory resists reduction to empirical science partly because of its utopian character. Thus tensions that arise within it concerning its individual, social and emancipatory aims mean that it always has a double aspect of (...) being both utopian and socially grounded at the same time. In general there is a tension within the practice of education between upbringing, on the one hand, and self-emancipation on the other, which is reflected at the level of educational theory in the distinction between normative-utopian and dogmatic-empirical elements. Even a utopian critique, however, must make use of the social and historical materials available in order to function, and thus it becomes itself historically situated. This unavoidable situation is one that must be embraced by a self-consciously utopian form of theorising. Just like other theories of society, the theory of education has two possibilities for self-definition. It can be conceived of either as a utopian or as a factual theory. In the latter case, it follows social contingency passively, giving itself over to the ‘destiny of Being’ in order to await the ‘result’. But it can also be interested and take part in social processes, and thus contribute to the opening out of thought and culture to utopian considerations. Educational critique, even in the utopian sense, however, has to recognise its own dogmatic elements in order to function as critique. It is thus self-evident that critique without dogmatism is not only impossible but also senseless. Similarly, educational dogmatism, although it apparently excludes critique by definition, must contain within itself the possibility of new forms of critique based on its own assumptions. Its very reliance on empirical methods to address the solution of unquestioned problems can itself subvert the dogmatic normative assumptions on which that empirical enquiry is based. (shrink)

Kant’s notion of common sense (Gemeinsinn) is crucial not only for his account of judgements of beauty, but also for the link he draws between the necessary conditions of such judgements and cognition in general. Contrary to existing interpretations which connect common sense to pleasure, I argue that it should be understood as the capacity to sense the harmony of the cognitive faculties through a sui generis sensation distinct from pleasure. This sensed harmony of the faculties is not only (...) the ground of judgements of beauty and the basis of pleasure in the beautiful, but is also essential, I argue, for the reflecting judgements through which we acquire empirical concepts. (shrink)

Slife and Reber ask of psychologists that they recognize their prejudice against theism and the incompatibility between theistic and naturalistic worldviews. Yet, the subtext of their article is that theism and naturalism are equally valid and that psychology’s secularism is a mistake. Given that theism is not beyond reason, the only sufficient ground for charging psychologists with prejudice is if theism has survived serious attempts at conceptual and empirical test, and psychology ignores or disguises this fact. So, the (...) grounds for believing in the reality of a supernatural existent are highly relevant to the authors’ allegation. However, their concept of God affords no such grounds. They disavow the logic involved in the ordinary meaning of the term “incompatible” and they ignore a crucial distinction between conditions of existence and qualities of things or processes. The consequence is that either God is this-worldly, and there is no ontological basis to Slife and Reber’s incompatibility thesis, or God’s mode of existence is quite different from the mode of existence of ordinary things and all the problems of dualism follow. Either way, their charge of prejudice is without foundation. The burden of proof rests with the defender of theism and, for now, psychology’s secularism can be considered a mark of the discipline’s rationality. 2012 APA, all rights reserved). (shrink)

Deleuze’s “transcendental empiricism” and the “empirical side” of Whitehead’s metaphysics are paradoxical unless placed in the context of their unorthodox readings of empiricism. I explore this context focusing on their engagements with Hume. Both subvert presumptions of a categorical gap between external nature and internal human experience and open possibilities for a speculative empiricism that is non-reductive while still affirming experience as source for philosophical thinking. Deleuze and Whitehead follow Hume in beginning with events of sensation as primary (...) but do not presume the logic of (human) subjects and objects (of nature) as necessary structuring polarities for their interpretation. This challenges a basic distinction (between inner and outer or between self and world) that seems inherent in the ordinary concept of experience, thus earning the moniker speculative. The speculative empiricist studies how these abstractions arise from events of experience prior to their consolidation in representation. This includes a critical component: to what extent do unexamined assumptions about conceptual abstraction hinder, block, or prefigure experiential attention? This critical component has existential implications for how we attend to the affective, intuitive, and preconceptual. (shrink)

This book has the virtue of sketching what might seem the implications of a Gricean theory of meaning. Mr. Landsman explicitly accepts the psychologism of Grice’s approach: the attempt to explain linguistic meaning by nonlinguistic, psychological notions, i.e., speaker’s intention that hearers have certain beliefs, etc. What turns out universal are actions, of which linguistic actions are a non-basic kind. Landsman is to be complimented for emphasizing that a Gricean account is psychologistic and that it loosely implies non-linguistic universals of (...) action, which are to provide the principles of individuation for beliefs, intentions, propositions, sayings, etc., which are the "connate accusatives," or adverbials, of action universals. He does not, I think, do much to rid Grice’s account of its fundamental difficulty: viz., that what is to do the explaining seems less clear and less well individuated than what it is to explain. It does not help much to write: "I do not wish to deny that, as a matter of fact, people often think in words. This means that a factual condition of having certain thoughts is the mastery of speech. Linguistic conventions thus may constitute causal conditions of certain intentional states. What I am claiming is that the notion of a convention does not enter into our concept of an intentional state." It is not sufficiently clear what the difference between mere "causal conditions" and "logical conditions" is supposed to be. Some might say that the notion of thought presupposes the notion of logic and that logic, unless we are to mix it with empirical psychology and talk of "laws of thought," presupposes the notion of language. Unfortunately, Landsman has little to say about the criticisms that have been made of Grice’s theory, mentioning Ziff’s criticisms in a brief aside and not so much as mentioning John Searle’s attempt to improve Grice’s theory of meaning. Also Landsman has nothing to say about recent and closely related work in linguistic theory: e.g., 1) though Landsman maintains that all ordinary speakings are performative actions, he has nothing to say about whether or not there is any relevance, and if so what, in J. R. Ross’ fairly recent claims to the effect that all sentences, in their syntactic deep structure, begin with a general performative verb coupled with the speaker’s pronoun; 2) much of what Landsman says relates to the distinction between the pragmatics and semantics of language, and to the success of Davidsonians and "generative semanticists" in their equation of deep syntax and logical form, but Landsman does not explain what his position comes to in such terms, nor does he explain why he does not have to explain. These last points are more a plea for catholicism in talking about meaning than a criticism of Landsman’s able exposition. The second half of this book consists largely of two papers: on the indeterminancy of translation and on abstract particulars and passages from The Problem of Universals, which Landsman edited.—R. B. (shrink)

Part I presents a quantitative-empirical outline of chemistry, esp. preparative chemistry, concerning its dominant role in today's science, its dynamics, and its methods and aims. Emphasis is laid on the poietical character of chemistry for which a methodological model is derived. Part II discusses standard distinction between science and technology, from Aristotle (whose theses are reconsidered in the light of modern sciences) to modern philosophy of technology. Against the background of results of Part I, it is argued that (...) all these distinctions fail, because the underlying concepts of science are either out-dated, one-sided, or arbitrary. A deeper understanding of today's sciences requires, in particular, a philosopical investigation of chemistry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Four Philosophical Models of the Relation Between Theory and PracticeEstelle R. JorgensenSince music education straddles theory and practice, my purpose is to sketch the strengths and weaknesses of four philosophical models of the relationship between theory and practice. I demonstrate that none of them suffices when taken alone; each has something to offer and its own detractions. And I conclude with four suggested ways in which the (...) analysis can be helpful to music teachers and those interested in their work.Clarifying what is meant by theory and practice raises a nest of conceptual problems. Concerning theory, it may be tempting to equate the terms "theory" and "philosophy." Among their shared properties, these terms deal with conceptual and abstract entities that, from the Enlightenment at least, have been held to be distinct from the phenomenal world. They also clarify ideas and distinguish one concept from another. Among their different purposes, the object of philosophy is the asking of questions in a search for wisdom or truth whereas theory is formulated for explanatory purposes, especially within the frame of scientific propositions that can be refuted through empirical observations. The tests of philosophy are, therefore, those of symbolic logic evidenced in principles such as [End Page 21] internal consistency, correspondence with evidence (deductive, inductive, or analogical), and coherence within a unity or whole. Although logical criteria may also be important in formulating and testing theory,1 it is tested and refuted primarily through means of qualitative descriptions and quantitative assessments of observable phenomena.Regarding practice, one is also confronted with an ambiguous construct that may be interpreted descriptively (what is done in the phenomenal world or taken to be the general state of affairs) or normatively (what is desirable or ideal). There is also the distinction between the practice of a seasoned performer and practice in the sense of striving towards the mastery of a competent and expert practice. In this regard, Vernon Howard distinguishes between "practice" (or the skills exemplified by proficient or expert performers) and "practise (or acquiring the level of mastery of proficient or expert performance)."2 For him, the ambiguous and paradoxical nature of artistic practice highlights the complexity of degrees of attaining mastery of skills or exemplary practice and the diverse array of skills ranging from habit to critical thinking involved in the practice of any art. Although each practice is distinguished by its own belief systems, rituals, expectations, and commonsense, boundaries between differing practices are sometimes "soft" or fuzzy, as one seeps into another.3 Consequently, it is often difficult to distinguish one from another at the margins where one practice becomes another.DichotomyThe notion of theory and practice as independent or a dichotomous relationship between the phenomenal world on the one hand and the mind and spirit on the other has its roots in the ancient world. For Plato, the world of "appearances," referring to the phenomenal world understood by imagination (eikasia) and belief (pistis), should be distinguished from the higher, abstract "intelligible world" grasped through thinking (dianoia), knowledge (episteme), and intelligence (noesis).4 René Descartes' later bifurcation of the inner and outer worlds and inversion of Platonic values and understandings resulted in the ascendancy of careful and deliberate observation of the phenomenal world over philosophical reflection.5 His ideas helped to set the stage for the Enlightenment and the Industrial, Scientific, and Information Revolutions. Empiricism, science, and technology gradually displaced philosophy as primary ways of knowing the phenomenal world and understanding the nature of mind, human cognition, feeling, and being. Making hard-boundaried distinctions between within and without one's self, the phenomenal world and the world of spiritual things, and theory and practice were important insights. These distinctions provided for limits on the sorts of ways in which truth could be known. Reasoned deliberation [End Page 22] and imaginative thought have particular usefulness in the world of theory while sensory perception and careful observation are especially useful in the phenomenal world of practice. So while the scholar might speculate about phenomena, observational tools are also useful in coming to know and understand them. Reason and observation each have particular strengths, and it ought not be assumed that philosophy or scientific observation... (shrink)

The discussion of good and evil must not be confined to the sterile lecture halls of academics but related instead to ordinary human feelings, needs, and desires, says noted philosopher Richard Taylor. Efforts to understand morality by exploring human reason will always fail because we are creatures of desire as well. All morality arises from our intense and inescapable longing. The distinction between good and evil is always clouded by rationalists who convert the real problems of ethics into (...) complex philosophical puzzles. In the first part of Good and Evil, Taylor looks for a more meaningful conception by reexamining and rejecting the whole rationalistic tradition that dominates philosophical ethics. The second part provides an empirical explanation of good and evil, noting that one does not have to look too far to find prime examples of the failure of fixed moral rules. Including important commentary on Joseph Fletcher's groundbreaking situation ethics, and Aristotle's virtues (e.g., magnanimity and pride), Taylor rounds out the book by developing a philosophy of aspiration--personal worth as an ethical ideal--to replace the morality of duty. He offers a modified form of situation ethics to fit the contemporary problems we face. (shrink)

In most general terms, my paper is about the mixture of agendas in the recording industry, where documentation, with its apparently educational implications, becomes difficult to distinguish from a range of distinct, even opposed, goals—which I group under the heading "fabrication." After a few historical remarks, I develop the concept of what I call works of phonography —that is, sound-constructs created by the use of recording machinery. I detail their ontological characteristics, as contrasted the features of ordinary musical (...) works. WPs are—I claim—replete. They are autographic. And they are phono-accessible—that is, accessible only through playbacks of authentic instances of their record artifacts, e.g., cassette tapes, CDs, etc. I then turn to Theodore Gracyk's recent study of rock music, arguing that his account is formally similar to my account of WPs. This raises the question of whether there be counter-examples to Gracyk's account—particularly of the sort that show his view to be too broad. I bring this to a focus finally by a comparison of rock recordings with jazz recordings—two classes that Gracyk tries to keep ontologically distinct. I argue that many classic jazz recordings are artifacts of the recording studio, no less than those Gracyk identifies as pure cases of rock music. In the same vein, I argue that, once recorded, the improvisational music of jazz is deformed—indeed, that it acquires features of WPs. This has the further implication that Gracyk cannot preserve his sharp distinction between rock and jazz records that he want's to maintain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editorial Reflections on Philosophizing in Music EducationEstelle R. Jorgensen and Iris M. YobIn this article, we reflect on issues that go to the heart of teaching and scholarship in the philosophy of music education. After thirty years of editing Philosophy of Music Education Review, it is a good time to take stock of the philosophical work that has been and is being published and of challenges that remain.Over the (...) years, there has been a growing quality of philosophical articles published in the journal, due in significant part to the efforts of reviewers and the willingness of writers to work with their suggestions. Authors regularly express appreciation for the informed, critical, and constructive reviews their work receives. An exemplary body of philosophical scholarship in music education has been published over this time and PMER is regarded as a premier journal internationally devoted exclusively to the philosophy of music education. In thirty volumes of uninterrupted publication, we have sought to be responsive to important issues in music education. Our writers have engaged relevant subjects of interest to our readers, citations of articles remain strong, and articles are included in [End Page 109] university and college course reading lists. PMER is available in print and online via subscription; it has a wide digital exposure in search engines and leading indexes, and our readership continues to grow.Despite this progress, although the number of submissions has increased, their quality has sometimes been uneven. Our pedagogical commitment to foster philosophical writing and the philosophical inexperience of some writers has significantly impacted the work required to bring submissions to publication standard. Submissions sometimes evidence a lack of attention to formulating a tight argument, citing relevant sources, and polishing and editing the manuscript. The published style guidelines are too often ignored, creating a poor first impression with reviewers and editors. Writers are occasionally in a hurry to publish and less willing to entertain multiple revisions of their articles required to produce work of lasting value. The growing number of music education journals that publish philosophical work, while opening more fora, in some cases perversely result in ideologically driven, polemical, and philosophically uninformed articles in the name of philosophy. This is a good moment to reconsider the importance of philosophical fundamentals that should undergird our philosophizing in music education and what these mean for our academic responsibilities. To this end, we suggest several principles that need to be central to our philosophizing in music education. These principles also have broader implications for the expectations of scholarship in music education generally.WRITING PHILOSOPHYLike other subject areas in the academy, philosophy has its own intellectual structure, a canon of significant writings, its own interpretative methods, and its distinctive role and purpose. A philosophical paper in music education reads differently from papers in the history of music education, methods of teaching music, sociology of music education, empirical research in music education, multi-cultural, gender, and ethnic studies, music education curriculum building and policy making, and so on. And yet, the boundaries between these disciplines, which are artificial constructions when human knowledge is considered wholistically anyway, are somewhat porous with concepts and ideas and claims seeming to move easily from one discipline to another.To help distinguish between philosophy and other areas of study and research, it may be helpful to consider philosophy as a second-order activity. That is, first-order activity examines the raw data of research and experience and attempts to make sense of them. Using inference, pattern-seeking, deduction, hypotheses, statistical analysis, and so on, these activities result in claims, interpretations, and theories that give meaning to what we see, hear, and feel. [End Page 110]The second-order activity takes a step away from these first-order activities. It does not concern itself so much with raw data or with creating theories about them, but critically analyzes the claims and inferences that are made in regard to them. Where first-order disciplines analyze inputs from observation and experimentation, second-order disciplines analyze these analyses—that is, they function as meta-analyses. Philosophers do not need laboratories or fieldwork (which makes applications for grants to support philosophical research difficult to secure!). They need libraries... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 1-20 [Access article in PDF] Endoxa, Epistemological Optimism, and Aristotle's Rhetorical Project Ekaterina V. Haskins Communication Department Boston College Aristotle's crucial role in institutionalizing the art of rhetoric in the fourth century BCE is beyond dispute, but the significance of Aristotle's rhetorical project remains a point of lively controversy among philosophers and rhetoricians alike. There are many ways of reading and evaluating Aristotle's Rhetoric (...) that depend on the philosophical, theoretical, and pedagogical purposes of the scholar.1 Most philosophical and rhetorical exegeses of the Rhetoric, however, while focusing on the text's connections to Aristotle's corpus and to the rhetorical tradition before and after Aristotle, seem to lack a critical perspective on Aristotle's relationship with his cultural context. Yet, like other parts of Aristotle's encyclopedic intellectual endeavor, much of Rhetoric 's cultural content was provided by endoxa, "reputable or received opinions."Since G. E. L. Owen's essay "Tithenai ta phainomena" (1961) many scholars have accepted the claim that endoxa, rather than empirical observations, are the source of Aristotle's own philosophical principles. The "linguistic" turn within Aristotelian studies has drawn attention to the role of "facts" of language and ordinary experience within Aristotle's philosophical method. As a result, a view of Aristotle as a hard-core empiricist has given way to a picture of a humanist who is attuned to the nuances of his cultural milieu. Still, this new portrait fails to take into account that Aristotle's manner of selecting and categorizing his linguistic resources allows him to transform what we would consider cultural beliefs into natural, and hence, atemporal premises. This pattern can be explained by Aristotle's "epistemological optimism," in itself a blend of several cultural assumptions about perception in general and vision in particular, the function of language, and the cyclical nature of human history. Part of this essay's objective, then, will be an explanation of these components of Aristotle's epistemological optimism. By appreciating Aristotle's difference [End Page 1] on these issues from our modern assumptions, we will be in a better position to understand why Aristotle relies on endoxa on all three levels of philosophical discourse (theoretical science, moral philosophy, and productive arts of poetics and rhetoric). Aristotle remains consistent in his treatment of endoxa throughout; rhetoric, however, presents a major challenge to Aristotle's epistemological optimism and his conception of language. I shall argue that Aristotle recognized this challenge and that he answered it by isolating proofs and rhetorical genres from their linguistic medium (lexis ), and postulating linguistic transparency (sapheneia ) as a stylistic norm. I. Aristotle's openness to appearances (phainomena ) and opinions (endoxa ) was accorded prominence especially thanks to the work of G. E. L. Owen and Martha Nussbaum. Owen was first to defend a linguistic translation of Aristotle's phainomena as "ordinary beliefs" and "appearances" against the then-prevalent rendition "observed facts." In so doing he asserted the crucial impact of the philosopher's cultural context on the formation of speculative discourse. Owen (1961) nonetheless demanded that phainomena be understood as empirical observations in Aristotle' treatises on biology and meteorology (84-86), so as to preserve the methodological and epistemological distinctions between inquiries into the natural world, on the one hand, and the world inhabited by human agents, on the other. Nussbaum (1986) went much further than Owen in asserting the role of phainomena and endoxa in Aristotle's inquiry. Unlike Owen, Nussbaum sees no fundamental difference between "experiences" of a philosopher and linguistic expressions of cultural beliefs and interpretations—his discursive data—from which Aristotle constructs his philosophical accounts. Nussbaum's chief (and highly influential) claim is that Aristotle's method is marked by a deep concern for the experiential world of his fellow men and their language. Aristotle's philosophical insights into the human condition, on this reading, echo and amplify classical Greek tragedy, despite the austere diction of Aristotle's extant treatises.Owing to this openness to the world of ordinary beliefs, Aristotle seems to depart from the Eleatic and Platonic distrust of human... (shrink)

I argue for the importance of clarifying the distinction between metaphysical, semantic, and meta-semantic concerns regarding what Emotion is. This allows us to see that those involved in the Scientific Emotion Project and the Folk Emotion Project are in fact involved in the same project – the Science of Emotion. It also helps us understand why questions regarding the natural kind status of Emotion, as well as answers to questions regarding the value of ordinary language emotion terms or (...) concepts to emotion research, will not help resolve the observed crisis in the Science of Emotion. (shrink)

Like his contemporary, Edward Weston, Ansel Adams claimed that visualization is essential for creating fine art photography. But, unlike Weston, he believed that a print from a negative is like a performance from a score. In his analogy, a photographer’s visualization is like a musician’s composition: once it has been set down in a ‘score’, it can be expressively rendered by different performers, making it possible to create and critically appreciate ‘performances’ with different qualities. I argue that this music-photography analogy (...) makes Adams’s conception of photographic visualization more fruitful than Weston’s alternative. However, while I agree with Adams that a print is analogous to a performance, I criticize his idea that a negative is like a score. I argue that he holds a traditional, single-stage conception of photography, which led him to overlook a key distinction between undeveloped film and the developed negative. The multi-stage account of photography that I defend not only remedies this problem but also shows how Adams’s proposal can be fully realized in digital photography. Most significantly, it invites theorists and practitioners to expand the music-photography analogy by considering wider varieties of music—not only performances from a score. (shrink)

RésuméIl n'y a pas de sujet plus idoine à justifier la philosophie ouverte qui est celle de Dialectica que l'étude de l'évolution du concept de raison dans la pensée occidentale.C'est avec la création de la géométrie déductive que le mot raison prit un sens chez les Grecs du ***Ve siècle av. J.‐C. A l'évidence sensible qui résulte du témoignage de nos sens et ne constate que le comment d'un fait observé, les géomètres grecs substituent l'évidence intelligible qui en explique le (...) pourquoi, en montrant qu'il est la conséquence nécessaire d'un petit nombre de propositions admises comme évidentes. S'élevant du concret à l'abstrait, ils dégagent l'essence intelligible de l'accident sensible et substituent au réel le possible. Les disciplines empiriques des Orientaux font place aux sciences théoriques et explicatives: l'astronomie, la mécanique, l'optique, la théorie musicale. Toutefois, au lieu de voir dans les concepts mathématiques une création de l'esprit, les penseurs‐géomètres de la Grèce les assimilent à une découverte par les yeux de l'ǎme d'essences préexistantes. Ils méprisèrent, en outre, les applications pratiques qui seules peuvent stimuler les sciences expérimentales. De là procèdent les limites, puis l'arrět de la science hellénique.Les conquětes d'Alexandre déversèrent sur l'Occident méditerranéen les religions de salut de l'Orient. A la recherche désintéressée du vrai se substitue la gnose, la révélation de mystères transcendants à la raison. Lorsque le message chrétien devint une philosophie puis une théologie, on en vint à distinguer » la démonstration hellénique « par le raisonnement et la dialectique, et » la démonstration hébraique « par les prophéties et les miracles des articles de la foi. La Scolastique rechercha l'accord de la raison et de la foi, en entendant par raison l'apport de la science et de la philosophie helléniques, assimilées, à partir du XIIIe siècle dans la Latinité, à l'encyclopédie aristotélicienne. La Scolastique échoua dans cette tentative. La doctrine de » la double vérité « fut l'aveu de cette impuissance.Pour se libérer de la mentalité scolastique, il fallut s'affranchir dans l'étude des phénomènes naturels de l'autorité d'Aristote, du joug de la théologie et parvenir à une théorie correcte de la connaissance, en particulier de la valeur des idées abstraites et de la distinction des vérités formelles et des vérités empiriques. Il fallut interpréter comme une création de l'esprit ce que les Grecs assimilaient à une découverte de vérités préexistantes. La désagrégation de l'a priori synthétique, conçu à la façon des Cartésiens et des Kantiens, conduit à se demander ce qui subsiste des exigences a priori de la raison. C'est à quoi s'évertue de répondre la dernière partie de l'article.ZusammenfassungEs gibt keinen geeigneteren Gegenstand zur Rechtfertigung der offenen Philosophie, die von der Dialectica vertreten wird, als das Studium der Entwicklung des Vernunftsbegriffes im abendländischen Denken.Mit der Entstehung der deduktiven Geometrie erhält das Wort Vernunft bei den Griechen des 5. Jahrhunderts vor Christo einen Sinn. An Stelle der gefühlsmässigen Evidenz, die auf der Gewissheit unserer Sinne beruht und lediglich das Wieeiner beobachteten Tatsache feststellt, setzen die griechischen Geometer die logische Evidenz, die das Warum erklärt, indem sie zeigt, dass es eine Folge einer kleinen Zahl von Voraussetzungen ist, die als evident angesehen werden können. Sich vom Konkreten zum Abstrakten erhebend, befreien sie das intelligible Wesen von der Zufälligkeit des Sinnlichen und ersetzen das Reelle durch das Mögliche. Die empirischen Disziplinen der Morgenländer schaffen Platz für die theoretischen und erklärenden Wissenschaften wie Astronomie, Mechanik, Optik, Musiktheorie. Immerhin, anstatt in den mathematischen Konzepten eine Schöpfung des Geistes zu sehen, setzen die geometrischen Denker Griechenlands diese der Entdeckung präexistenter Essenzen durch die Augen der Seele gleich. Sie verachten im übrigen die praktischen Anwendungen, die nur die Experimentalwissen‐schaften anregen können. Daher kommt es, dass die griechische Wissenschaft bei einer gewissen Grenze Halt machen musste.Die Schlachten Alexanders verschlangen im Abendland des Mittelmeeres die Heilsreligionen des Orients. An Stelle des uneigennützigen Suchens nach der Wahrheit tritt die Gnosis, das Erheben des mysteriös‐Transzendenten in den Bereich der Vernunft. Als die christliche Botschaft eine Philosophie, darauf eine Theologie wurde, begann man zu unterscheiden zwischen der » griechischen Beweisführung « mittels Vernunft und Dialektik und der » hebräischen Beweisführung « mittels Prophezeiungen und Wundern des zu Glaubenden. Die Scholastik forschte nach dem Zusammenhang zwischen Vernunft und Glaube, indem sie unter Vernunft den Beitrag der griechischen Wissenschaft und Philosophie verstand, der Aristotelischen Enzyklopädie angeglichen in der Folgezeit des 13. Jahrhunderts im Römischen Reich. Die Scholastik scheiterte in diesem Versuch. Die Lehre der » doppelten Wahrheit « war das Geständnis dieses Unvermögens.Um sich von der scholastischen Mentalität zu befreien, hiess es sich im Studium der Naturereignisse von der Autorität des Aristoteles befreien, vom Joch der Theologie und zu einer korrekten Theorie der Erkenntnis zu gelangen, speziell des Wertes der abstrakten Ideen und der Unterscheidung zwischen formellen und empirischen Wahrheiten. Was die Griechen einer Entdeckung von präexistenten Wahrheiten gleichsetzten, musste als Schöpfung des Geistes interpretiert werden. Die Desagregation des synthetischen Apriori, aufgefasst im Sinne von Descartes und Kant, führte zur Frage, was vorhanden sei von den apriori‐Erfordernissen der Vernunft.Dies zu beantworten, bemüht sich der letzte Teil des Artikels.There is no subject more suitable to the open philosophy of Dialectica than the study of the development of the concept of reason in Western thought.The word » reason « acquired a meaning with the creation of deductive geometry by the Greeks of the Vth cent. B. C. These geometers substituted for the sensible evidence, which only establishes the » what « of an observed fact, the intelligible evidence which explains the » why « of such an observed fact, by showing that it is the necessary result of a small number of statements, accepted as self‐evident. Rising from the concrete to the abstract, the geometers isolated the intelligible essence from the sensible accident, and substituted for the real the possible. The empirical technics of the Orientals made place for the theoretical sciences of the Greeks: astronomy, mechanics, optics and musical theory. Instead, however, of seeing mathematical concepts as creations of the mind, the Greek geometers considered them as preexisting entities, discovered by the eyes of the soul. They furthermore disregarded the practical applications which alone can stimulate experimental sciences. These were the limitations and the causes of the eventual end of hellenic science.The conquests of Alexander brought to the Western Mediterranean the religions of salvation of the East. The gnose, revelation of mysteries transcending reason, took the place of the disinterested search for truth. As the Christian message became a philosophy and then a theology, the distinction came to be made between the » hellenic demonstration of the faith « by logic and dialectics, and the » hebrew demonstration « by the prophecies and the miracles. The scholastics sought to reconcile reason with faith, by defining reason as the legacy of Greek science and philosophy, identified, after the XIIIth century, with the Aristotelian Encyclopedia. They failed in this endeavour. The doctrine of the » double truth « was the admission of this failure.In order to progress beyond the scholastic outlook, it was necessary to reject the precepts of Aristotle in the study of natural phenomena, to become free of the tyranny of theology, to develop a correct theory of knowledge, especially as regards the role of abstract ideas and the distinction between formal and empirical truths. It was necessary to interpret as a creation of the mind what the Greeks considered the discovery of preexisting truths. The breakdown of the synthetic apriori of the Cartesians and the Kantians leads one to wonder what remains of the a priori requisites of reason. The last part of the article suggests an answer to this question. (shrink)

Scholarship in experimental jurisprudence has reported surprising findings about various concepts of legal significance: _acting intentionally_, _causation_, _consent_, _knowledge, recklessness_, _reasonableness,_ and _law_ itself. Often, these studies examine laypeople’s ordinary concepts and draw broader conclusions about legal experts’ concepts. This Article questions such inferences, from empirical findings about ordinary concepts to conclusions about the concepts of those with legal expertise. It presents a case study concerning what it means to act _intentionally._ An (...) experiment examines intentionality judgments across four populations (N = 774): laypeople, law students, non-law students, and United States judges. Legal training affected judgments in three ways that are consistent with the acquisition of a distinctive legal concept. This case study supports the Article’s broader claim: Laypeople’s ordinary concepts are not equivalent to experts’ legal concepts. The acquisition of legal concepts is an important form of legal expertise. (shrink)

A "concept" in the sense favoured by Wittgenstein is a paradigm for a transition between parts of a notational system. A concept-determining sentence such as "There is no reddish green" registers the absence of such a transition. This suggests a plausible account of what is perceived in an experiment that was first designed by Crane and Piantanida, who claim to have induced perceptions of reddish green. I shall propose a redescription of the relevant phenomena, invoking only ordinary colour (...) concepts. This redescription is not ruled out by anything the experimenters say. It accounts for certain peculiarities in both their descriptions and their subjects', and suggests that instead of discovering forbidden colours the experimenters introduced a new use of "-ish". Still, there is a point in speaking of "reddish green" in their context, which can be motivated by invoking what Wittgenstein calls a "physiognomy". (shrink)

Distinction of ‘awām- khawāṣ (the ordinary and the elite) is a general distinction in philosophical literature that shows the difference of people in their level of understanding the truth. It is possible to take this distinction back to Plato in Ancient Greek philosophy. Plato's hesitation in expressing his philosophical thoughts in written form, and Aristotle's use of obscure expressions and symbols in his works against the possibility of reaching those who are not competent, is a result of the distinction (...) between ‘awām-khawāṣ. This distinction was covered in Islamic thought by associating it with the three addressing styles mentioned in the Quran and the fact that the prophet was proclaiming the message according to these addressing styles. The purpose of this study is to reveal how the truth should be conveyed to people of all levels through the evaluations of the Islamic philosophers and thinkers on the distinction between ‘awām and khawāṣ. In the study it will be attempted to find answers to the questions of what are the reasons leading the Islamic philosophers and thinkers to make the distinction between ‘awām and khawāṣ, what arguments they used to explained the necessity of this distinction and why is the distinction between ‘awām and khawāṣ so important. Firstly, the lexical and terminological meanings of the concepts of ‘awām and khawāṣ are introduced. The ‘awām, which is used to express the public, ordinary people, and the lower layer of the society, is a term that qualifies the ignorant society, who has adopted a system of imitation-based life and belief cannot understand the truth of life. Khawāṣ, who are defined as the elite, the prominent, who represents the intellectual group and strives to grasp the truth, base their life and belief on knowledge and attain a higher level of awareness. After the literal and terminological meanings, it has been proceeded to the historical background of this distinction. Then the views of Islamic philosophers and thinkers who directly point to this distinction in this regard have been examined by referring to their main works. These are al-Fārābī, Ikhvān-Ṣafāʾ, Ibn Sinā, Rāghıb al-Iṣfahānī, Ghazālī, Ibn Tufayl, Ibn Rūshd, Ibn'ūn-Nefīs. For instance, al-Fārābī makes a clear distinction between ‘awām and khawāṣ in his works on political philosophy. He addresses this distinction by stating that the virtuous city is divided into two groups, the difference is in the methods used by these group to grasp the truth, and that they can achieve happiness in different ways. Stating that people are made up of different groups, Ikhvān-Ṣafāʾ goes to the distinction of ‘awām- khawāṣ and classifies the sciences accordingly. In addition, Ikhvān-Ṣafāʾ say that the prophets pay attention to the mentioned distinction while communicating the message of Allah to people. Ikhvān-Ṣafāʾ have related this distinction to the distinction between exoteric and esoteric. The understanding of prophethood and eschatology of Ibn Sinā shows ‘awām-khawāṣ distinction very clearly, too. According to him the truth should be conveyed gradually. Ghazālī claims that the ‘awām should not demand the sciences that are not suitable for their cognitive level and that they should leave them to competent people. In Islamic thought the dominant idea is that both wisdom and religion are presented in exo-teric and esoteric knowledge and that the learning of the esoteric way is only necessary for the khawāṣ. The aim of the ‘awām-khawāṣ distinction is to prevent misunderstanding that would arise when the knowledge would be conveyed to wrong people and thus to prevent the loss of truth by those who are not competent. The majority of Islamic thinkers call ‘awām as people of imagination, and khawāṣ as people of thought. They think that the methods of thinking and imagining should be taken into account when explaining the religious and philosophical truths. They have also emphasized the perfection of the prophetic style of addressing society. The symbols and metaphors that the prophets used to express religious truths or the metaphors and symbolic stories that are preferred by philosophers to tell some truths can be seen as a product of the distinction between ‘awām and khawāṣ. As it can be seen in the example of Ḥay bin Ya-qẓān, explaining the truth clearly to ‘awām may cause them to deviate from the right way. For this reason, it is necessary to tell the truth to people according to their level of understanding. It is possible to say that the ideas of Islamic thinkers about this distinction still remain important to-day, due to the fact that people have different dispositions and their level of understanding is not the same despite a change in time and place. Therefore, the disadvantage as pointed out by the Islamic thinkers is that the attempt to convey the truth to people may not be able to reach its exact purpose by ignoring this distinction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rethinking Music Education and Social Change by Alexandra Kertz-WelzelGraça MotaAlexandra Kertz-Welzel, Rethinking Music Education and Social Change (Oxford: Oxford University Press, 2022)I began to read this book shortly after the invasion of Ukraine by the Russian troops. Amidst this most terrible and brutal context, reading and re-reading the book that Alexandra Kertz-Welzel offers was both a blessing and an intense exercise of food for thought. A blessing as (...) it drives our minds through a complex but nonetheless rewarding journey into the meanders of critical and ideal visions. An exercise of food for thought as she turns to the arts, philosophy, sociology, and political theory to construct an interdisciplinary, sustained story. While rethinking “the goals of music education in view of social change,”1 the introduction describes the purpose of the study and presents the author’s chosen theoretical pillars: Levitas’s concept of utopia, Georgina Born’s four planes of music’s sociality, David Hesmondalgh’s defense of aesthetic experience, and Martha Nussbaum’s concept of human flourishing. Furthermore, Kertz-Welzel aims to answer the question of what social change is in general but also, concerning music education, to critically consider the contribution that music education can make to social change. She proposes to redefine “the general goals of music education regarding its social and musical intentions, reuniting two dimensions which have been defined as opposite, but are in fact complementary regarding [End Page 99] politically and socially responsive music education and esthetic music education.”2 I will get back later to this last intention in the context of the author’s approach to the redefinition of music education. For now, I will begin with her proposed definition of music education as utopian theory and practice, in the context of the chosen title for this book.Rethinking Music Education and Social Change is a very appealing title not only because rethinking music education is a most pressing issue within the community of music educators but also because social change, in relationship with music, has been the object of research in numerous projects, claiming the transformative power of music. This is a theme I have been very much involved with, being the co-founder of the research platform, Social Impact of Making Music (SIMM),3 that aims to systematically investigate the possible social impacts of learning and playing music. Having said that, I found myself confronted with a book that sets in the middle of its focus to thoroughly investigate the concept of utopia in its multiple facets based on a complete discussion of its theoretical basis. In that context, the fact that the title of the book does not include utopia seemed to me rather puzzling, and I intend to come back to this at the end of this review.The author presents a comprehensive and updated review of the literature, its complexities and ambivalences in the relationship between the arts and social change as it appears and has evolved across time. This approach connects social change with activism, not forgetting the issue of dramatic social change that she exemplifies with the COVID-19 pandemic, and to which we can now sadly add the present state of war. Quoting Roxane de la Sablonniére (2017) and her four typologies of social change, Kertz-Welzel highlights the fact that in the last hundred years the pace of change has increased enormously, and “dramatic social change is a threat to cultural identity.”4The notion of the arts as a political instrument is thoroughly developed, and it should be acknowledged that the author takes here, as well as in other parts of the book, a courageous standpoint. She does not avoid critical or uncomfortable issues, one of them being the ambiguity of the arts. In her discussion on social distinction and identity construction, she cites Max Weber, Georg Simmel, and Pierre Bourdieu and argues that culture has indeed been used as a way of discrimination among people. She also points out the supposedly refined taste of higher social classes cultivated through access to various arts experiences, while others would be denied these experiences and therefore unable to develop their full artistic potential... (shrink)

Edward Said was the quintessential intellectual of the last quarter of the twentieth century. Commonly celebrated as the founding figure of postcolonialism, his critical oeuvre spans varied terrain. The very strength of his critique lies in these diverse tributaries of thought. Crossing borders and boundaries incessantly, Said’s intellectual project celebrates the culture of resistance while opposing doctrinaire rhetoric. The paper tries to journey along the multifarious “margins” of discourses that crop up in Said. “In-between” spaces have to be investigated (...) for their radical potential, while daring to “transgress” has its own dangers. Said unmasks the unholy nexus between knowledge and power in the mapping of the “Orient” that abetted the colonial enterprise. His contrapuntal readings of literary texts reveal the ubiquitous presence of imperial empire. Consequently, voices from the margins spur counter narratives and “writing back” in the postcolonial condition. Intellectuals in exile tend to be “marginal” and this location helps in looking at the two or even three sides of an issue. Questions of identity, selfhood, nationality, politics, memory, history, representation, geography, homeland, anxieties of influence are dealt with in the paper. The intertwining of the personal and the political occurs in Said. “Memory” is the only hope for resuscitating a “lost world” and battling the accompanying sense of “loss” and “despair” infused in both individuals and communities alike. The paper tries to address how “border crossing” and the “coalescing of margins” create an interdisciplinary breadth in Said, which resist categorization. The “centre/margin” binary is problematized by acknowledging the presence of “many voices,” “polyphony” being a favourite concept of Said. Music gave to him metaphors for human emancipation, while “transgression” was vital. His acknowledgement and assimilation of fellow critics is also mentioned. Beyond enunciating insider-outsider distinctions, Said tried to cultivate knowledge as a bridge between different interests and locations. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The strong correlation between people’s socioeconomic position and health within high income countries is a well-documented fact. A person’s occupation, income and education level tell us a lot about that person’s prospects on a long and healthy life, such that we can speak of a ‘social gradient in health’, or a ‘socioeconomic health gap’. This association is often perceived to be unjust. Therefore, it is generally thought that governments should aim to reduce socioeconomic health inequalities. However, this idea needs (...) ethical justification, for it is not evident if and why exactly these inequalities are unjust. For instance, are inequalities in health unjust per se? Or because the underlying socioeconomic inequalities are unjust? And does justice require equal health levels, or a minimum level of health? What complicates the issue, is that the width of the health gap, or the steepness of the social gradient, depends on what health measures are used. Overall, the more subjective the measure, the greater the inequalities appear to be. But are all these measures equally morally relevant? This dissertation aims to give a better understanding of these philosophical questions. It does so by investigating the question of what we should understand by health in the first part, after which it addresses the question of how to evaluate socioeconomic health inequalities in the light of justice. The introduction begins with a description of the phenomenon of socioeconomic health inequalities, and how it has been addressed by politicians, epidemiologists and philosophers in the past and today. The chapter continues by formulating the central question of the dissertation – that of which health inequalities should be focused in the light of a concern with social justice. It explicates how this dissertation contributes to answering that question, by discussing the potential relation between the conceptualisation of health and justice evaluations, and by discussing which questions are addressed in each of the following chapters. The chapter 2 addresses the question of how health is conceptualised in the philosophical and public heath literature, and how theoretical concepts of health differ. It proposes to approach health concepts as a Wittgensteinian family of thick concepts and argues that while theories on health generally argue in favour of one specific concept, a comparison of concepts shows that we may need different concepts of health given the variety of health practices. By explicating the differences between five concepts of health, this chapter argues that each captures aspects of health that all seem relevant when we talk and think about health. Classifying these concepts based on their distinctions reveals them as members of a conceptual family: each of the discussed concepts differs from the others in at least one respect and resembles the others in several respects. Moreover, the discussion of the concepts shows that ‘health’ always both describes a condition and values that condition at the same time. Having both descriptive and evaluative dimensions, we can see health concepts as ‘thick concepts’. Given this evaluative dimension, it is important to reflect on the question of what understanding of health guides specific practices. Moreover, the distinctions revealed by the classification can serve as a conceptual toolbox for reflection on the assumptions and purposes of health practices. How such reflection could work is illustrated by a brief exploration of what health aspects are focused upon in three specific health practices. Chapter 3 presents a study into the question of how health is conceptualised by ordinary citizens and to what extent conceptualisations of health differ between socioeconomic groups. By making use of the method of concept mapping, this study analyses how different socioeconomic groups formulate their own answers regarding the question ‘what does health mean to you?’. It presents concept maps of health for three different socioeconomic groups living in the city of Utrecht that reveal that all groups have a multidimensional understanding of health. An interpretation of the concept maps reveals nuanced differences between groups. The multiple aspects of health were also ranked by importance. It appears that each group assigned most importance to mental health. All in all, the study shows that people in lower socioeconomic groups are more likely to show a conceptualisation of health that refers to 1) the absence of health threats, 2) a person within his/her circumstances, 3) the value of functional notions, and 4) an accepting attitude towards life. Chapter 4 addresses the question of what the theoretical and empirical study to concepts of health could imply for health equity practices. It does so by exploring further the suggestions made in chapters 2 and 3. Regarding the question of which health aspects should guide health equity policies, this chapter discusses the question of whether we should primarily look at subjective or objective health measures, and whether a universal or relative standard of health should be central. While justice-related concerns of impartiality and equal treatment may seem to favour an objective perspective and a universal health standard, it appears that we have good reason to account for the subjective perspective as well. It is also argued that a concern for recognition and participatory parity gives room for relative health standards. Th room for relative health standards confronts us with the question of how to deal with mechanisms like adaptive preferences that the concept maps reveal. It proposes a way out, by arguing for society-relative health standards. Chapter 5 examines the question of whether inequalities in health should be evaluated ‘directly’, thus independently of a distribution of their social determinants. It proposes a sufficientarian perspective, such that the central question of evaluation is that of whether everyone is – or can be – healthy enough. By discussing two sufficientarian approaches to health and social justice – by Powers & Faden and by Nussbaum – this chapter distinguishes two ways of setting a threshold level for health. Both approaches appear to provide an unsatisfactory basis for justice evaluations and lead us away from direct evaluation if we try to settle health minima that are less arbitrary. In anticipation to chapters 6 and 7, it is argued that the perspective of sufficient health for relational equality escapes this arbitrariness: compared to that of a decent human life, it better helps to answer both the question of what socioeconomic health inequalities a society is due to avoid, and the question of when socioeconomic health inequalities are unjust considering their consequences. Chapter 6 discusses to what extent Daniels’s theory of health justice provides a satisfactory answer to the question of what health inequalities a society is due to avoid. Daniels proposes an indirect evaluative approach by arguing that we should evaluate socioeconomic health inequalities in the light of Rawls’s principles of justice as fairness. That is, if socioeconomic inequalities are in accordance with fair equality of opportunity and with the difference principle, the corresponding health inequalities would be just. It is shown that the suggestion that Rawls’s principles regulate the social determinants of health neglects that not all social determinants of health belong to society’s basic structure as conceived of by Rawls and are thereby not subjected to the principles of justice. To acknowledge the social mechanisms leading to socioeconomic health inequalities in their full complexity, it is argued that we should broaden our understanding of society’s structure in accordance with Young’s notion of social structural processes. This renders the question of what health inequalities a society is due to avoid into a question of what we can expect from the side of the various actors that uphold the social structures that produce socioeconomic health inequalities. Lastly, it is discussed how a shift to Young’s theory completes the shift to non-ideal theorising that seem already initiated by Daniels, and that with this, the distinction between direct and indirect evaluation dissolves. Chapter 7 discusses to what extent equality in health is of instrumental value for a society of free and equals. It thus takes up the idea proposed in chapter 5, that an evaluation of the consequences of health inequalities is also due. Taking relational equality as an evaluative framework reveals three ways in which inequalities in life expectancy threaten this ideal. That is, via unequal risks to stigmatisation, unequal risks to unemployment and the risk of unequal pension enjoyments. It is thereby shown that these risks are especially great for those lower down the socioeconomic strata. It thus concludes that equality in health is of instrumental value to relational equality. The chapter continues to argue that our instrumental approach opens a new perspective: to mitigate the identified injustices by changing society, rather than by reducing inequalities in health. This is argued to be an advantage in the light of the realistic assumption that of the socioeconomic health inequalities will persist. The paper thus offers a complementary approach to both the evaluation and the mitigation of the injustice of socioeconomic inequalities in health. The discussion chapter summarises the central findings of the analyses of health concepts and discusses questions regarding the philosophical and practical merits of comparing theoretical health concepts, the need for developing new health measures or concepts and the importance or nonsense of studying citizen’s views on health. Repeating this for the dissertation’s second part, the central findings of the chapters on justice evaluation are summarised and followed by a discussion of questions and issues that have remained unaddressed so far. Here, central points of discussion are my take on rules of distribution, the distinction of direct and indirect evaluation, the role of ideal and non-ideal theory, the idea of relational equality, and personal responsibility for health. The chapter concludes by noting that also in the light of justice evaluations, all commonly used health measures are relevant for justice. Therefore, my recommendations for policy and further research entail that inequalities in each of these measures deserve attention by both policymakers and researchers. Specifically, policymakers and researchers should give attention to how exactly each of these health inequalities come about, in such a way that a discussion about the question of who can be assigned responsibility to alleviate them is well-informed; and both should give attention to the effects of health inequalities on the opportunities for people to live on equal standing, in such a way that when these opportunities are diminished, actions can be considered to aim to restore relational equality. (shrink)

The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of music ought to proceed: (...) we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)

In the thesis I criticize the project of showing that the primary qualities mentioned in a special "scientific" or "objective" conception of the world enjoy a status that secondary qualities do not, and suggest how the appeal of such a distinction might be overcome. ;Descartes argued that we erroneously ascribe illusory "secondary" qualities to the world. In the painting analogy of the First Meditation I identify a line of reasoning that has been previously overlooked yet is crucial to the success (...) of Descartes's project. I show why Descartes's explanation of how we come to have the supposedly erroneous beliefs is unacceptable, and that contemporary accounts of so-called projective error fail for similar reasons. These failures suggest that an explanation of the thoughts we do have cannot succeed without appeal to more than the limited resources Descartes took to be available. ;Pursuing this suggestion I examine alternatives to the form of anti-skeptical reasoning of the painting analogy. I develop a modified transcendental strategy that resembles aspects of Davidson's treatment of error, while respecting the realism that motivates the project in question. I argue that beliefs about the colors of objects, for example, are systematically related and that the attribution of systematic disagreement cannot be justified. This shows that the systematic error Descartes claimed to find in our ordinary judgements is not fully intelligible. ;Finally I survey some contemporary alternatives to Descartes's account. Many dispositional analyses of qualities aim to revise our ordinary understanding of these qualities, thus taking for granted a prior demonstration of the distinction in question. I argue that no non-revisionary dispositional analysis of these qualities can succeed. I show that the notion of "anthropocentricity" is irrelevant to the project. Lastly I consider accounts that characterize primary qualities by their explanatory power. Previous arguments show that identifying some objects as possessing certain qualities is a condition of identifying beliefs as beliefs about those qualities. I end with a lesson about the limits of the explanatory power of a special austere conception of the world. (shrink)

One of the components of John Cottingham's thinking - a contemporary English philosopher - in the relationship between reason and religion, is the distinction between the field of science and religion. He has presented this distinction in two parts: the type of issues in the field of science and religion, and The method of inference in the field of science and religion. According to Cottingham, religious issues are related to outside the field of human knowledge, and the way (...) of debunking them is not the way of debunking the best explanation in empirical sciences; Because despite the problem of evil, theistic hypothesis cannot be considered as the best explanation for the phenomena of the world. His proposed model for the field of religion is the legal model; That is, the fact that the explanation presented is not incompatible with empirical evidence is enough to justify religious belief. He considers his point of view between extreme faithism and pseudo-scientific inferentialism. This view is criticized in several ways; Including: 1. Failure to pay attention to the function of secondary philosophical concepts in understanding the metaphysical dimension of the world of matter and abstractions, 2. The problem of "ignoring", 3. The inefficiency of the proposed model with regard to the issue of evil. (shrink)

The debate on the value of Boyer's minimally counter-intuitive theory continues to generate considerable theoretical and empirical attention. Although the theory offers an explanation as to why certain cultural texts and narratives are particularly well conveyed and transmitted, amidst society and over time, conflicting evidence remains for any mnemonic advantage of minimally counter-intuitive concepts. In an effort to reconcile these conflicting results, Barrett has made a comprehensive attempt in presenting a formal system for quantifying counter – intuitiveness including (...) a distinction between counter-intuitive and counter-schematic concepts. The present article uses this system to generate sentences containing different levels of counter-intuitiveness, and tests whether minimally counter-intuitive items show a mnemonic advantage over concepts which are more counter-intuitive or counter-schematic. Results indicate that MCI concepts hold a mnemonic advantage over counter-schematic and maximally counter-intuitive concepts but only for one-week delayed recall. Interference effects may have masked immediate recall effects. Yes-no recognition after one week delay showed almost 100% accuracy suggesting that availability of retrieval cues is the factor which determines the mnemonic advantage of MCI concepts. (shrink)

Purpose. The author will show that metaphysical concepts and the concepts of empirical sciences derive from experience. The only difference is that metaphysical concepts derive from unusual experience, i.e. out-of-body experience, while empirical sciences – from usual one. The example set metaphysical concept of pure being. Methodology. In order to obtain this goal the author uses two methods. The first one is comparative method. With the help of this method the stories of men who experienced (...) clinical death and returned to life are compared with the famous philosophers’ metaphysical statements (Plato, Descartes, and Bonaventura). The second one is transpersonal method. It helps to study the peculiarities of the extraordinary experience in the state of clinical death or mystical ecstasy. Such experience lies in experience of transcendence, pure being as light, ultimate awareness of truth, which are identical to the metaphysical statements of philosophers and mystics. These ultimate experiences belong to different people, who lived and grown in different cultures, but nevertheless metaphysical statements of philosophers or mystics and statements of the ordinary people who experienced clinical death are the same. Therefore we can say that out-of-body experience is transpersonal. Originality. Metaphysics is neither speculative nor withdrawn from experience of a human being sphere. It arises from out-of-body experience while empirical sciences – from usual experience. Therefore, metaphysical concepts, in particular, pure being, are empirical, because they are based also on (extraordinary) experience. In general, metaphysics becomes possible on the basis of out-of-body experience. Conclusions. In this article the author argues that the concepts of metaphysics are not a priori because they originate from out-of-body experience that is from the experience of the distinction between body and soul or body and mind. As a result of such experience appear, for instance, Plato’s metaphysics, Descartes’ metaphysics, and the Christian mysticism of Bonaventure, which theoretical constructs are deriving from experience of pure being (light). In this context metaphysics is seen as the path of gradual separation of a human being from his or her physical body, i.e. “the art of dying” (Plato). Therefore, the author proves that there are no a priori concepts. All concepts are aposteriori, in empirical sciences and in metaphysics as well. We simply talk about two different experiences: usual and unusual experience. The author also argues that there is direct connection between out of body experience and metaphysics, mystics. In the case of out-of-body experience, the temporary death of a human being is the cause of his/her change in perception of himself/herself and the world; it is the cause of metaphysical knowledge. (shrink)

Compared to existing classical approaches to semiotics which are dyadic (signifier/signified, F. de Saussure) and triadic (symbol/concept/object, Ch. S. Peirce), this theory can be characterized as tetradic ([sign/semion]//[object/noema]) and is the result of either doubling the dyadic approach along the semiotic/ordinary dimension or splitting the ‘concept’ of the triadic one into two (semiotic/ordinary). Other important features of this approach are (a) the distinction made between concepts (only functional pairs of extent and intent) and categories (as representations (...) of expressions) and (b) the indication of the need for providing the mathematical passage from the duality between two sets (where one is a singleton) within systems of sets to category-theoretical monoids within systems of categories while waiting for the solution of this problem in the field of logic. Last but not least, human language expressions are the most representative physical instances of semiotic objects. Moreover, as computational experiments which are possible with linguistic objects present a high degree of systematicity (of oppositions), in general, it is relatively easy to elucidate their dependence on the concepts underlying signs. This new semiotic theory or rather this new research program emerged as the fruit of experimentation and reflection on the application of data science tools elaborated within the frameworks of Rough Set Theory (RST), Formal Context Analysis (FCA) and, though only theoretically, Distributed Information Logic (DIL). The semiotic objects (s-objects) of this theory can be described in tabular datasets. Nevertheless, at this stage of formalisation of the theory, lattices (not trees) can be used as working representation structures for characterizing the components of concept systems and graphs for categories of each layer. (shrink)

Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements. Using the distinction between the sensuous and the passionate as framework for his discussion, Singer explores not only the treatment of love in these operas but (...) also the emotional and intellectual orientation of these two great composers. Singer contrasts the cool sensuality of the Don in Mozart's Don Giovanni with Leonora's passionate love for her husband in Beethoven's Fidelio and compares the erotic playfulness of some of Mozart's letters with Beethoven's fervent letter to "the immortal beloved." Don Giovanni, The Marriage of Figaro, Così Fan Tutte, and The Magic Flute all express the conflict between the sensuous and the passionate, but it is only in The Magic Flute, says Singer, that this conflict is resolved. Beethoven, an admirer of The Magic Flute, emulated both its music and its ideology, and produced in Fidelio the greatest of all operas about married love. Written while Singer was also at work on the three-volume The Nature of Love, Mozart and Beethoven can be read as a companion volume to this masterful trilogy and as a forerunner to his later work on philosophy in film. (shrink)

The distinction has occasioned a long controversy between Carnap and W.V. Quine. The latter distinguishes two sorts of analytic statements: the logical truths, characterized by their remaining true under all reinterpretations of the descriptive terms; and the statements, which reduce to logical truths with the help of definitions or by substitution of synonyms for synonyms. In “Two Dogmas of Empiricism”, he directs his criticism mainly against the latter arguing that the explications so far provided move in a circle, since, (...) in the end, the concept of synonymy is explained in terms of analyticity. He reaches the conclusion that the only form of synonymy not exhibiting this deficiency is that introduced by explicit conventions. But according to him, this procedure is of no avail, because the philosophically interesting content of the general term “analytic in L” cannot be grasped with its help. Carnap’s suggestion of defining a new basic concept “analytic in L0” does not solve the problem since we could just as well designate this with a neutral word, say “K”, thus avoiding the illusion of an explanation. The attempt to define synonymy with the help of semantic rules fails in a similar way: it accomplishes nothing more than to place certain statements under the rubric “Semantic rules” — a notion which is no clearer than the explicandum. Carnap replies that his definition of “analytically true” is given with regard to artificial or formalized languages for which we can determine syntactic and semantic rules in such a way that the concept of truth, in Tarski’s sense, can be applied to them. Analytic statements other than logical truths will thus be distinguished by means of so-called meaning postulates which serve to make the truth-value of such statements independent of empirical matters. I share Carnap’s astonishment that Quine finds the term “semantic rule” unintelligible while formulating no complaint against similar notions such as that of a syntactically well-formed formula, or that of an axiom etc. It appears that he cannot be satisfied with rules, because he expects a theory which would give us an empirical, i.e., a behavioristic, criterion of analyticity for natural languages. His chief dissatisfaction seems to come from the fact that no clear explicandum has been put forward — in contrast, e.g., with the notion of truth, where we have a sufficiently clear pre-theoretical concept. Thus, according to him, there is nothing that could be clarified by an explication. (shrink)

ABSTRACT Drawing upon a distinction between epistemically and metaphysically motivated notions of a concept, I consider the insurmountable problems of theories that appeal to our epistemic capacities to address the problem of the nature of concepts satisfactorily. Prominent theories of concepts hold that primitive concepts must have internal structure if they are to account for the explanatory functions that cognitive scientists have attributed to such constructs as prototypes, exemplars, and theories. Vindicating the role of non-experimental philosophy (...) in the critical examination of empirical theories, I argue that the explanatory effectiveness of those constructs is orthogonal to an argument concerning the structure of primitive concepts. Conceptual atomism provides an alternative approach to individuating primitive concepts the precise formulation of which has yet to be worked out. Despite its unpopularity, the atomist alternative is still in a better position to face the question of what concepts are than its competitors. RESUMEN Haciendo una distinción entre nociones de concepto epistémica y metafísicamente motivadas, considero las dificultades insuperables que enfrentan las teorías que apelan a nuestras capacidades epistémicas para abordar el problema de la naturaleza de los conceptos. Las teorías de conceptos más importantes sostienen que los conceptos primitivos deben poseer una estructura interna para cumplir aquellas funciones explicativas que científicas y científicos cognitivos les han atribuido a constructos tales como prototipos, ejemplares y teorías. Reivindicando el aporte de la filosofía no experimental en la evaluación de teorías empíricas, planteo que un argumento a favor de la estructura de los conceptos primitivos es independiente del poder explicativo de dichos constructos. El atomismo conceptual proporciona un enfoque alternativo para individualizar conceptos primitivos cuya formulación precisa aún no se ha elaborado. Pese a su impopularidad, la alternativa atomista está en una mejor posición que sus rivales para enfrentar la pregunta acerca de qué tipo de cosas son los conceptos. (shrink)

Drawing upon a distinction between epistemically and metaphysically motivated notions of a concept, I consider the insurmountable problems of theories that appeal to our epistemic capacities to address the problem of the nature of concepts satisfactorily. Prominent theories of concepts hold that primitive concepts must have internal structure if they are to account for the explanatory functions that cognitive scientists have attributed to such constructs as prototypes, exemplars, and theories. Vindicating the role of non-experimental philosophy in (...) the critical examination of empirical theories, I argue that the explanatory effectiveness of those constructs is orthogonal to an argument concerning the structure of primitive concepts. Conceptual atomism provides an alternative approach to individuating primitive concepts the precise formulation of which has yet to be worked out. Despite its unpopularity, the atomist alternative is still in a better position to face the question of what concepts are than its competitors. (shrink)

This chapter tries to elucidate the complex relationship between ordinary language philosophyordinary language philosophy (OLP) and experimental philosophy (X-Phi) from the perspective of the contrast between the positive and the negative programs of X-Phi. I will first show the relevance of language to the various fields of contemporary philosophy, through what I call the Argument from Cross-Linguistic Diversity and the Argument from Intra-Linguistic Variance, together with empirical data. This will partly vindicate OLP, which is generally thought (...) to be obsolete today. I will then examine the reasons for the demise of OLP, and show that the contemporary meta-philosophical debates over X-Phi are in fact a revival of the debates in the heyday of OLP. This will then also indicate a parallel between Wittgenstein’s negative programnegative program, called quietism, and the negative program of X-Phi, especially Stich’s. The positive program of X-Phi can no doubt contribute to science, but the question of whether it is philosophy may depend on our conception of philosophy. The negative program of X-Phi is no doubt philosophy, but the question is whether it can make any positive contribution to philosophy, let alone science. I will answer “yes” to it, by sketching a radical negative picture of philosophy in general. (shrink)

My dissertation, “Love, Self-Constitution, and Practical Necessity,” offers an interpretation of love between people. Love is puzzling because it appears to involve essentially both rational and non-rational phenomena. We are accountable to those we love, so love seems to participate in forms of necessity, commitment, and expectation, which are associated with morality. But non-rational attitudes—forms of desire, attraction, and feeling—are also central to love. Consequently, love is not obviously based in rationality or inclination. In contrast to views that attempt (...) to fit love into existing models of practical reasoning, I argue that love participates in a unique form of practical necessity, different from both moral and psychological necessity, yet bearing resemblances to each. Distinctive to this type of practical necessity is a direct appeal to another particular person that cannot be delivered in third-personal terms—that is, a non-moral yet normative type of expectation on another person. This type of expectation is predominant in loving relationships, but can also make better sense of the experiences of humor and beauty, as well as attitudes like forgiveness, gratitude, and agent-regret. I treat Immanuel Kant’s discussion of the experience of beauty in the Critique of Judgment and Christine Korsgaard’s work on self-constitution as fruitful starting points for this account of love. I conclude that our loving relationships enable us to have distinctive personal selves, and provide support for this account of love by offering a complementary theory of grief. In Part One of the dissertation, I focus on two prominent approaches to love characteristic of the sentimentalist and rationalist traditions. I begin with the work of David Hume, which treats desire (understood as something like a simple impulse or craving) as the paradigmatic mental state, and emphasizes our personal and affective dimensions. Hume has the valuable insight that loving someone affects our sense of ourselves. But Hume’s view becomes unsatisfying when he claims that love is essentially enfeebling, implying that to love is to be passive toward and readily overcome by another person. While this indicates Hume’s awareness that love involves being open and receptive to another person, the problem is that love is also a demanding attitude. Hume lacks the conceptual resources to offer a nuanced view of the self, in which we can—with one attitude—be both demanding of and vulnerable to another person. Hume’s model of a desire-based deliberative process has recently been revived in Harry Frankfurt’s discussions on love and rationality. Frankfurt, however, goes beyond Hume’s picture of the self by introducing a notion of “identification,” which he offers to make sense of our apparent ability to commit ourselves decisively to certain projects or people. I argue that active powers like identification and commitment cannot be accommodated within any basically Humean moral psychology. Such abilities, and with them the possibility of love, depend on something closer to a Kantian conception of rational agency. I next focus on the work of Kant, who provides the substantial counterpart to Humean-inspired moral theories, but is not known for his insight into our emotional lives. In the Metaphysics of Morals, Kant divides love into “practical love”—what we experience when we are morally motivated to help someone—and “pathological love”—what we experience when we feel fond of something. But in reality, we experience love neither as a mere preference for another person, nor as something that generates the kind of demands that would be binding on any rational creature. David Velleman attempts to remedy the deficiency of Kant’s dichotomy. Velleman offers a Kantian theory in which he describes love and respect as two ends of a continuum of attitudes that it is morally appropriate to have toward people. Velleman’s view has the peculiar implication that everyone deserves the love of everyone else, and I argue that this is a fatal flaw. Like Kant and Velleman, Korsgaard characterizes personal love as involving the treatment of other people as Kantian ends-in-themselves to a heightened degree. Korsgaard, though, also contends that our individual identities depend upon our personal relationships, and I take this position seriously for the remainder of the dissertation. Ultimately, however, characterizations of loving relations as subsets of moral relations can account for the authority of the demands of love, but not its particularity. The major conclusion of Part One is that any attempt to understand love primarily on a model of practical reasoning with which we are already familiar is doomed to fail. Our experience of love calls for a theory of a unique type of practical necessity. In Part Two I take seriously the possibility that love is simultaneously inescapable (in something like the way morality is supposed to be), and yet ineluctably personal. In love, we experience an engagement with a person as essentially particular, rather than as an instance of a rational agent in general. To make sense of this direct attachment to an individual, I argue that love involves distinctive forms of expectation and disappointment. When those we love let us down, they hurt our feelings, which is not a response to a failed prediction, but nor is it a reaction to a moral insult or offense. According to Peter Strawson and Stephen Darwall, second-personal moral reactive attitudes (such as resentment) always have third-personal analogues (such as indignation). In contrast, I argue that the type of hurt feelings associated with love is a second-personal reactive attitude that does not have a third-personal corollary. I take this as evidence that the expectations involved in love are not objective in the way that the moral is objective. Nor, however, is love a matter of mere preference. On my interpretation, Kant introduces this different type of expectation in the Critique of Judgment. Whereas he characterizes moral judgments as universally communicable, judgments of beauty implicitly involve only second-personal address: I appeal to your direct experience with a particular object. This provides the conceptual space for an account of love according to which it involves a uniquely second-personal form of practical necessity. I contend that the second-personal addresses we make in love are appeals to strengthen the intimacy implicit in the loving relationship, and I identify three interrelated dimensions of that intimacy. First, those we love have the standing to interpret us in a constitutive manner. We fine-tune and make determinate the character of our concerns and interests in part by accepting the interpretations provided by those we love. In that way, the people we love have the normative power to constitute who we are. Second, we share a perspective with those we love in a way that is not reducible to or derivative of our independent perspectives. Loving someone centrally involves the activity of forming concerns together, and we do this in a mode best understood on the model of playing a spontaneous game or improvising music. Finally, being loved enables us to see ourselves as distinctive and special, because the concern those who love us have for us does not track the objective merit of our characteristics. These dimensions of the intimacy that characterizes a loving relationship reveal what it is that we appeal for in love, and how we are hurt when our appeals are rebuffed. In broad terms, this dissertation advocates the recognition of a non-moral yet normative type of expectation, which is predominant in loving relationships. Humor and beauty, too, make more sense when understood in terms of this non-moral yet normative type of expectation, as they involve appeals to others that are more than mere predictions of, but less than rational demands for, a certain kind of response. Introducing this alternative notion of expectation into the discourse of moral philosophy can shed light on other common attitudes that are clearly normative, but defy translation into objective, third-personal terms. Such attitudes include certain experiences of pride and shame, apology and forgiveness, the bestowing of mercy, gratitude, agent-regret, and perhaps a basic sense of trust we have in others. Ultimately, I situate love in respect to grief, which demonstrates my theory’s ability to make sense of related dimensions of our emotional lives. The people we love and grieve over give us a sense of who we are as distinctive, particular individuals, as the three interrelated dimensions of intimacy in loving relationships reveal. Consequently, grief is best understood as a type of practical disorientation—namely, a disorientation that involves the loss of the personal self. I present my account of grief against the type of account that would draw philosophical conclusions about the nature of love and grief from empirical psychological data alone. In particular, these data indicate that we recover quickly from the deaths of loved ones, and Dan Moller draws the philosophical conclusion that those we love fulfill certain roles in our lives and are replaceable. In contrast, I contend that while we should acknowledge the truth of the objective judgment, made in the third-person, that we will likely recover after the deaths of those we love, it does not follow that we must affirm such a claim from the internal perspective of one person who loves another. As a result, the case of love and grief supports a general claim concerning the proper work of moral philosophy, which is that the understanding of ourselves gained through empirical data is not a substitute for the normative conclusions that are revealed through first-personal reflections on our relationships. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of a Reality-Based Community:Illusion and Tolerance in Music, Education, and SocietyPatrick K. SchmidtThe two questions that arise in this symposium are: What kind of world engagement is required of music education? and Should music educators participate in political understanding? While my immediate response was and is: How we can afford not to? that is, not to engage fully with the world and not to do so politically, (...) at the same time I also recognize the ways in which that has been problematic in the music education profession. Particularly, in how we continue to experience what I would call events without future: ersatz events made of illusions. Such a proposition is implicated in the following questions: How seriously are we committed to rethinking our practice and re-engaging with our ideals, traditions, visions, and discourses? Has our conception and practice of democracy disappeared (or remained unformed) in the insubstantiality of shadows? How do [End Page 160] we react to political understandings that dismiss the communities in which we live, as well as the singularities and differences that mark us? Who are those of us supposedly living in the/a "reality-based community?"1An aide of the current administration explains the White House stance by saying, "We are an empire now, and when we act, we create our own reality."2 The idea, of course, is that we not only can, but perhaps, must dissociate from such communities (particularly those that do not conform to such envisioned reality). An Empire, one might say, seeks power as well as expansion, confluence as well as stability, tradition as well as ideological certainty. It probably comes as no surprise then, that dictatorial regimes are often more stable, including economically, than new or recalcitrant democracies. (I myself grew up in such a regime in Brazil in the 1970s and early 80s.) The word "Empire" conjures up images that are localized, monocentric, confluent, and institutional. The reality today, however, seems much closer to what Antonio Negri and Richard Hardt portray:3 a reality modeled upon the production of subjects with increasingly similar desires and prone to a certain subservience to commodity and technology. But if this "we" is no longer "us" but an illusion, if this reality-based community no longer distinguishes, questions, problematizes, or engages with its own reality or realities, perhaps more than ever it is time that we began to think politically, that our assumptions and that of others be challenged, and that we seek understandings that, as Randall Allsup has proposed, "are rendered in a world that is contingent, political, and always in motion."Following the model adopted here I will address some of the concepts Estelle Jorgensen proposes, particularly those associated with the notion of supremacy and its propagation through "reductionistic and nationalistic forces." Such a vista will serve as a departing point for my own reflections on the shades, contradictions, complexities, and possibilities we might find when considering majority led silence and voicing, as well as the role of political and empathetic dialogue in our practices, be they professional and/or connected to citizenship.4A Search for the Ethical: Majority Rule?Today, music education as a society negotiates a reality that is more complex and multiple—one of a multitude of one5 —of separation through categories that, while preserving the impression of distinctiveness, allows for a larger invisible and uncontested majority to instill what Alexis de Toqueville called over a century ago the "tyranny of the majority."6 We need to consider here that, as Negri and Hardt propose, there is no one center to this Empire, "no tangible, nuclear element to be identified and/or resisted." This tyrannical majority is paradoxical, for while it dictates it is also silent.7 What is there, then, are spaces in and through which our disengagement allows for the strengthening of what is [End Page 161] perceived and experienced as inevitable, as a faceless majority that controls and decrees, that denies and structures.This tyranny of the majority, the underside of our democratic visions, can lead in politics, as in our professional practices, to a sense of the famous Foucaultian panopticon where total surveillance is... (shrink)

In recent European philosophy, and especially in Heidegger, Arendt, Derrida, and Badiou, the distinction between the ordinary and the extraordinary, or between normality and “event,” has played a very prominent role. In the present paper, I raise a challenge to this distinction, a challenge inspired by Deleuze’s conception of repetition and difference. Is it not the case that every occurrence in some ways reproduces and in some ways deviates from the past, such that nothing is entirely extraordinary (...) and nothing completely normal? The purpose of the paper is to examine whether the ordinary/extraordinary distinction—or the notion of event, respectively—can be defended against this challenge, i.e., whether it can be given a rigorous definition. Drawing on and departing from the named philosophers, I show that there are three alternative responses—the route of subjective experience, of transcendence, and of negation—and assess their respective merits. (shrink)

The starting-point is the distinction between concept and conception. Our conceptions of gold, for instance, are the different understandings we get when we hear the word ‘gold’ whereas the concept of gold consists in the scientific determination of what gold is. It depends on the context whether it is more reasonable to claim a concept or to look for fitting conceptions. By arguing against metaphysical realism and for non-metaphysical realism, I will elaborate on some philosophical reasons for dealing with (...) conceptions instead of concepts of God, and secondly, I will discuss how such conceptions should be critically assessed. (shrink)

Abstract:This paper outlines three conceptions of the relationship between normative and empirical business ethics, views we refer to asparallel, symbiotic, andintegrative. Parallelism rejects efforts to link normative and empirical inquiry, for both conceptual and practical reasons. The symbiotic position supports a practical relationship in which normative and/or empirical business ethics rely on each other for guidance in setting agenda or in applying the results of their conceptually and methodologically distinct inquiries. Theoretical integration countenances a deeper merging (...) ofprima faciedistinct forms of inquiry, involving alterations or combinations of theory, metatheoretical assumptions, and methodology. This paper explicates these positions, summarizes arguments for and against each, and considers their implications for the future of business ethics research. (shrink)

In his account of musical interaction and temporality, Schutz's outer-inner distinction appears to capture a component of everyday experience. But engagement with Wittgensteinian philosophy reveals Schutz's false contrast between literal and metaphorical components of language, a series of philosophical confusions stemming from reifications of mental verbs, and the attribution of genuine duration to phenomena that have life as linguistic objects. Consequently, Schutz's intended account of social interaction comes to rest upon a radically private concept of the subject. A (...) sociology of time, it is concluded, can avoid these conceptual traps by attending to the linguistic component of temporality. (shrink)

It has always been controversial to make a sharp distinction between the philosophical and the psychological approaches to aesthetics; and the revolution brought about by cognitive science has led many to believe that the philosophy of art no longer controls a sovereign territory of its own. To take one case in point: recent aesthetics has addressed the problem of fiction, asking how it is that real emotions can be felt towards merely imagined events. Several philosophers have tried to solve (...) this problem by leaning on observations in psychology – Jenefer Robinson, for example, exploring the domain of pre-conscious and non-rational responses, and Greg Currie, invoking simulation theory from the realm of cognitive science. I am not yet persuaded that either has succeeded in solving the philosophical question: but the fact that such sophisticated and well-informed philosophers should begin from studies in empirical psychology says much about how the subject of aesthetics has changed since the early days of linguistic analysis. (shrink)