In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transforming Music EducationCarolyn LivingstonEstelle R. Jorgensen, Transforming Music Education ( Bloomington, IN: Indiana University Press, 2003)Estelle Jorgensen's vision of the transformation of our profession is lofty but not ostentatious, exacting but not rigid. The dream she unveils in her latest book, Transforming Music Education, "challenges music educators to raise their expectations of themselves, their colleagues, their students, and their publics; to look beyond the ordinary; and to aspire (...) to distinction in every facet of its enterprise" (145). A powerfully convincing writer, Jorgensen, author of In Search of Music Education, begins appropriately in her preface by detailing the reasons why music education needs to be transformed. Many of her students and former students at Indiana University are not only satisfied with the status quo in music education, but demonstrate reluctance about even considering the need for change. Others, she has found, long for improvement, having encountered paternalistic administrators, loneliness, fear, and a loss of enjoyment in teaching and in music. Although the author is happy for the former group, she empathizes with the latter. "Gone are the hope, joy, and love of connecting with students or of the art that led them to teaching in the first place," she writes. "In their place I hear the voices of weariness, discouragement, and ennui" (x). [End Page 211]In addition, Jorgensen has observed the anti-intellectualism abroad in education, evident in a variety of symptoms. One of the most troubling is the idolization of scientific research resulting in a loss of interest in philosophical and historical inquiry. She decries the "declining regard for the long and distinguished narratives of education and for the critical insights that would help guard the profession against repeating past mistakes and making ill-conceived plans. Pretentious jargon invoked by educational scientists and theorists often cloaks a paucity of ideas frequently unintelligible to the teachers it is supposed to benefit, and few teachers read it," she asserts (x).Pointing out that we have lost much of our culture other than that promoted in the popular media, Jorgensen reminds us that, after graduation, high school students no longer play their instruments and that some churches now project words to hymns on large screens for parishioners no longer willing or able to read from a hymnal. She is as appalled as the rest of us by restaurant employees' attempts to sing "Happy Birthday" to celebrating patrons, and she notices that even consumers of culture increasingly rely on media opinions for assistance with choices about art exhibits, books, recordings, and performances.The resegregation of schools, the "back to basics" movement, and public apathy about education are other indicators that transformation is needed. If these reasons are not enough, Jorgensen states that ongoing renewal will always be a necessity for education. Since education is often defined as the process by which culture is transmitted, musicians and artists, as purveyors of culture, Jorgensen believes, can create a humane and holistic music education to serve as a model for education in general. "To conceive of music education as enculturation... requires placing culture at the heart of education," she states. "Regarding music along with other arts as important manifestations of human expression suggests that they should be central and essential to a complete education" (9).The purpose of each chapter is clear from its beginning, and the chapters are concisely summarized. The first, "Setting the Stage," discusses several problems of our present society as they affect education. Jorgensen considers possible resistance to transformation and the need for support from organizations like MENC and NASM. She maintains that transformation can only be achieved through the cooperation of many groups and individuals. One of the most difficult problems would seem to be the one that occurs when groups who have previously been oppressed, such as members of female, economic, ethnic, racial, religious, or other minorities, achieve a measure of power and then begin to behave toward others as their oppressors behaved toward them. She cites the work of Paulo Freire who believes that this phenomenon can only be eradicated through emancipatory education.Jorgensen gives homage to past and present music educators who have already recognized the need for change. She makes the point... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charles Faulkner Bryan: His Life and MusicTerese M. VolkCarolyn Livingston, Charles Faulkner Bryan: His Life and Music ( Knoxville, TN: University of Tennessee Press, 2003)There are many biographical studies in music education history.1 Indeed, it seems one of the easiest fields in historical research to mine—that is, until the researcher finds him or herself in the midst of what could be a years-long endeavor. Then the choice (...) is to commit to the research or quit. Carolyn Livingston did not quit. Her research began in 1981, continued through twenty years of investigations, interviews, library searches, and analyses, and has culminated in Charles Faulkner Bryan: His Life and Music. This book is not just the usual sequence of events in the life of a musician. Rather, it is more like becoming acquainted with someone you have never met before, yet feel comfortable with immediately. Charles Faulkner Bryan is genuinely likeable, and Livingston brings the person of Bryan to the fore and lets his humanity shine through his life and his music.Charles Faulkner Bryan: His life and Music is divided into two sections (pre- and post-WWII), each with four chapters. Livingston looks at this musician from several perspectives: the composer, the educator, the researcher, and the man. Appalachian folk music is the theme that connects the chapters, as it connected the events in Bryan's life. [End Page 211]Chapter 1 focuses on Bryan's youth, during which he and his family discovered his musical abilities. From performing at school, to building his own "turtle uke,"2 to his studies at the Nashville Conservatory of Music, Livingston describes the family support behind his developing musicality. Chapter 2 shows the reader his humanity even more clearly. Livingston tells of his early career as a music educator at the Tennessee Polytechnic institute; his marriage; and his mentorship of a young Black singer, J. Robert Bradley. That Bryan, a white Southerner, gave voice lessons to Bradley was not only generally unheard of with segregation as it was in the United States during the 1930s, but was dangerous to his career as well. Bryan moved on to teach at Peabody College in Nashville and then worked for the Works Progress Administration (WPA) Music Program on the Tennessee Music Project. Later he became the assistant state coordinator for the Tennessee State Defense Council. During both of these service positions, he called for music education improvements in Tennessee. Commenting on his work during this period, Livingston says, "Bryan was both of his time and ahead of his time... grounded in reality and yet visionary."3In Chapter 3, Livingston gives the reader a review of the "status of folk music scholarship and performance" as it existed in the 1930s.4 She takes pains to introduce the folk music researchers and musicians who influenced Bryan in his work with Appalachian folk music: Lucien L. McDowell and Flora Lassiter McDowell, George Pullen Jackson, Charles Seeger, and John Jacob Niles. These connections and friendships were to influence his awareness of Appalachian folk music and would continue for the rest of his life. By 1945 he had come to be considered an authority on folk music in his own right and his vision of this music came to encompass "the ultimate meaning in representing America itself."5Chapter 4 traces Bryan's development as a composer. It is in this chapter that Livingston begins to incorporate analyses of Bryan's most popular compositions. Her reviews of these compositions are clear and detailed without being overly theoretical. Some of the selections she analyzes include "Charlottown," "The Ballad of the Harp Weaver," and the White Spiritual Symphony. The Symphony in particular shows his respect for the folk songs he incorporated in this composition. Indeed, as Livingston points out several times, he maintained the integrity of these songs in all his compositions and performances. Chapter 4 concludes with Bryan's academic achievements: a Guggenheim Fellowship for music composition and his acceptance at Yale University to study composition under Hindemith.Livingston continues the discussion and analyses of Bryan's compositions in Chapter 5, detailing his time at Yale. His completed choral works from this period include the "Bell... (shrink)

Some of the oldest and deepest questions in philosophy fall under the umbrella of consciousness and mind: What is the mind and how is it related to the body? What provides our thoughts with content? How is consciousness related to the natural world? Do we have distinctive causal powers? Analytic philosophers have made significant progress on these and related problems in the last century. Given the high volume of work on such topics, this chapter is necessarily selective. It offers major (...) touchstones but is slanted in favor of work that touches base with the sciences. The chapter starts by describing the progression of thought on the mind-body problem, from dualism and behaviorism to non-reductive materialism. It then describes the problem of intentionality, with a focus on partial solutions from Dretske and Millikan, ending with a brief discussion of 4E theories of mental content. The section on the problem of consciousness starts with the well-known knowledge and modal arguments before describing some attempted initial solutions, such as eliminative materialism and panpsychism. Finally, there is a brief section on agency and free will, which focuses on the link between free will and consciousness. (shrink)

A Non-Technical Introduction to Ethnomethodological Investigations of the Foundations of Mathematics through the Use of a Theorem of Euclidean Geometry* I ...

Attention is essential to the life of the mind, a central topic in cognitive science, neuroscience, and psychology. Traditional debates in philosophy stand to benefit from greater understanding of the phenomenon, whether on the nature of the self, the foundation of knowledge, the natural basis of consciousness, or the origins of action and responsibility. This book is at the crossroads of philosophy of mind and cognitive science, offering a new theoretical stance on the concept of attention and how it intersects (...) with other functions of the mind, such as perception, consciousness, and action. It presents attention as directed by a subject, essential for perception, but not consciousness or action. By taking seriously the existence of a subject it stands against current trends in philosophy and cognitive science. This book offers an account of the subject and its role in attention that will both help motivate a subject-centered account and avoid some of the common criticisms regarding its existence. It engages with work by many philosophers, psychologists, and neuroscientists, including Block, Campbell, Dickie, Husserl, James, Koch, Mack and Rock, Merleau-Ponty, Treisman, and Wu. (shrink)

Defense of a psychological account of what it is for an artwork to be complete.

Attention has a long history in philosophy, despite its near absence in the twentieth century. This chapter provides an overview of philosophical research on attention. It begins by explaining the concept of "selection from limitation," contrasting it with the more recent "selection for action." It reviews historical texts that discuss attention, focusing on those in the Western canon whose understanding of "attention" aligns with contemporary usage. It then describes the differential treatment of attention in phenomenology and behaviorism in the last (...) century. Finally, it discusses contemporary research by topic: attention, perception, and knowledge; attention and consciousness; attention and action; and attention and the self. It includes work by Allport,Aristotle, Astell, Augustine, Bergson, Berkeley, Block, Bradley, Buddhaghosa, Campbell, Cherry, De Brigard, Dehaene and Naccache, Descartes, Dickie, Du Bois, Ganeri, Hegel, Heidegger, James, Kant, Koch and Tsuchiya, LaBerge, Locke, Mack and Rock, Malebranche, Merleau-Ponty, Mole, Montemayor and Haladjian, Neumann, Pashler, Posner, Prinz, Reid, Rensink, Reynolds and Heeger, Treisman, Watzl, Wittgenstein, Wollstonecraft, and Wu. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled (...) by intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

Wayne Wu argues that attention is necessary for action: since action requires a solution to the ‘Many–Many Problem’, and since only attention can solve the Many–Many Problem, attention is necessary for action. We question the first of these two steps and argue that it is based on an oversimplified distinction between actions and reflexes. We argue for a more complex typology of behaviours where one important category is action that does not require a solution to the Many–Many Problem, and so (...) does not require attention. (shrink)

Response to Gover (2015) on Trogdon and Livingston (2015) on artwork completion.

This paper explores whether consciousness can exist without attention. This is a hot topic in philosophy of mind and cognitive science due to the popularity of theories that hold attention to be necessary for consciousness. The discovery of a form of consciousness that exists without the influence of attention would require a change in the way that many global workspace theorists, for example, understand the role and function of consciousness. Against this understanding, at least three forms of consciousness have been (...) argued to exist without attention: perceptual gist, imagistic consciousness, and phenomenal consciousness. After first arguing that the evidence is inconclusive on the question of whether these forms of consciousness exist without attention, I here present a fourth form of consciousness that is likely to be more successful: conscious entrainment. I argue that conscious entrainment is a form of consciousness associated with skilled behavior in which attention is sometimes absent. (shrink)

Doctoral graduates in philosophy are an excellent source of information about the discipline: they are at the cutting edge of research trends, have an inside view of researchfocused departments, and their employment prospects provide early insights on the future health of the discipline. We report on the results of a survey sent to recent PhD graduates and current students, as well as data gathering efforts by Academic Placement Data and Analysis that have taken place over the past ten years. In (...) this report we especially focus on demographic representation, program ratings, academic job placement, and non-academic careers. (shrink)

How does attention contribute to perceptual experience? Within cognitive science, attention is known to contribute to the organization of sensory features into perceptual objects, or “object-based organization.” The current paper tackles a different type of organization and thus suggests a different role for attention in conscious perception. Within every perceptual experience we find that more subjectively interesting percepts stand out in the foreground, whereas less subjectively interesting percepts are relegated to the background. The sight of a sycamore often gains the (...) visual foreground for a nature lover, whereas the sound of a violin often gains the auditory foreground for a music lover, but not necessarily vice versa. How does the perceptual system organize early sensory processing according to the subject’s interests? The current paper reveals how this subject-based organization is brought about and maintained through top-down attention. In fact, the current paper argues that top-down attention is necessary for conscious perception in so far as it is necessary for bringing about and maintaining the subject-based organization of perceptual experience. (shrink)

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)

In 2018 Academic Placement Data and Analysis ran a survey of doctoral students and recent graduates on the topics of diversity and inclusivity in collaboration with the Graduate Student Council and Data Task Force of the American Philosophical Association. We submitted a preliminary report in Fall 2018 that describes the origins and procedure of the survey [1]. This is our final report on the survey. We first discuss the demographic profile of our survey participants and compare it to the United (...) States general population, its doctoral students, and APA membership, finding several areas of underrepresentation (i.e. gender, race/ethnicity, socioeconomic, and veteran status). We then discuss the results of questions regarding diversity and inclusivity. We find, for instance, that participant comfort in philosophy depends on gender, sexuality, race/ethnicity, disability, and language status and that participants most often mentioned the theme of diversity when asked how philosophy could be more inclusive. Finally, we discuss the results of questions related to graduate program and placement. We find, for example, that underrepresented graduates are both less likely to recommend their graduate program to others and less likely to prefer an academic job. We close by making some recommendations for the APA and for the discipline based on our findings. (shrink)

In Explaining Attitudes, Baker argues that we should treat our everyday practices as relevant to metaphysical debates, resulting in a stance of realism with respect to intentional explanations. In this chapter I will argue that if one is going to be a practical realist about anything, it should be the self, or subject of attention. I will use research on attention combined with the stance of practical realism to argue in favor of a substantive self. That is, I will present (...) an account of the self that directs and controls attention, in line with our everyday view of the self. I will contrast this account with what I call the “illusion view,” which presents the self and its apparent causal power in the case of attention as an illusion. My account of the self will make use of several of Baker's ideas, including non-reductive materialism and broad supervenience. (shrink)

The article explores the link between motion pictures and philosophy, citing film's contribution to philosophy, and the illustrative and heuristic roles of films. The philosophical contributions of films may be examined in the films "Vredens Dag," or "Day of Wrath," where filmmaker, Carl Theodor Dreyer used various specifically cinematic means to express ideas pertaining to ethical and epistemic issues, while "The Seventh Seal," provides some ideas about religion.

_ Source: _Volume 94, Issue 3, pp 301 - 331 The idea that we can understand key aspects of the metaphysics of consciousness by understanding conscious states as having a _presentational_ character plays an essential role in the phenomenological tradition beginning with Brentano and Husserl. In this paper, the author explores some potential consequences of this connection for contemporary discussions of the ontology of consciousness in the world. Drawing on Hintikka’s analysis of epistemic modality, the author argues that the essential (...) presentational character of consciousness can be seen as accounting for the familiar failure of substitutivity of identicals in intensional contexts of conscious presentation and further provides for an ontology of conscious presentation that avoids metaphysically problematic commitments to “special” intentional objects. The author next considers how the irreducibility of intensional contexts, if grounded in the presentational character of consciousness, also may provide for a kind of irreducibility of the “first-person” perspective to third-person or objective description across possible worlds. Finally, drawing on Chalmers’ “two-dimensionalist” semantic framework, the author argues that attention to the presentational aspect of consciousness as thus understood, while it provides significant motivation for the existence of the “hard problem” of the irreducibility of consciousness to physical and structural description, is nevertheless consistent with a globally monist, rather than dualist, ontology. (shrink)

This article argues that we could improve the design of research protocols by developing an awareness of and a responsiveness to the social contexts of all the actors in the research enterprise, including subjects, investigators, sponsors, and members of the community in which the research will be conducted. ?Social context? refers to the settings in which the actors are situated, including, but not limited to, their social, economic, political, cultural, and technological features. The utility of thinking about social contexts is (...) introduced and exemplified by the presentation of a hypothetical case in which one central issue is limitation of the probability of injury to subjects by selection of individuals who are not expected to live long enough for the known risks of the study to become manifest as harms. Benefits of such considerations may include enhanced subject satisfaction and cooperation, community acceptance, and improved data quality, among other desirable consequences. (shrink)

You have thoughts, feelings and desires. You remember your past and imagine your future. Sometimes you make a special effort, other times you are content to simply relax. All of these things are true about you. But do you exist? Is your sense of self an illusion, or is there something in the world that we can point to and say: ‘Ah, yes – that is you’? If you are familiar with the contemporary science of mind, you will know that (...) the concept of a substantive self, separate from the mere experience of self, is unpopular. But this stance is unwarranted. Research on attention points to a self beyond experience, with its own powers and properties. (shrink)

Testimony about episodes of artistic creativity often describes a puzzling combination of deliberate and involuntary elements. For example, Vincent Van Gogh wrote that it was possible for him to make an especially expressive picture, or as he put it, something with “feeling” in it, because the picture had already spontaneously taken form in his mind before he started drawing. He added, however, that if there was something worthwhile in the picture, this was “not by accident but because of real intention (...) and purpose.” Reflection on such testimony and on his own experience as a poet led Paul Valéry to conclude that artistic creation always involves a combination of “conscious acts” and “spontaneous formation”; only their relative proportion varies. If this point is granted, the outstanding and notoriously difficult problem is to understand how such different elements combine in the creative process. In other words, how is inspiration, or the work of the muse, related to the artist’s deliberations, plans, rational choices, and intentional actions? In what follows I shall develop a conjecture that falls within the conceptual space defined by two extreme theses--the popular, inspirationist idea that artistic creativity is a sudden, involuntary, and ultimately inexplicable event, and the dubious, rationalistic counterthesis, which characterizes artistic creation as a principled, deliberate selection from amongst an array of previously known options, each of which is associated with an expected quantity of artistic value. In my first section I discuss Henri Poincaré’s reflections on creativity in his 1908 essay, “L’Invention mathématique.” Although some of Poincaré’s ideas have been restated and elaborated upon in the literature on creativity, I contend that his most important claims still merit a closer look. Taking Poincairé’s general model as my point of departure, I sketch a new conjecture about artistic creativity in section 2; I also discuss a kindred proposal by Jon Elster. In section 3 I further illustrate and explain this conjecture with reference to Virginia Woolf’s artistic breakthrough in the writing of Jacob’s Room. In my final section I take up and respond to objections that may be raised against these claims about artistic creativity. (shrink)

The main questions in philosophical research on attention concern its nature and impact. Regarding its nature, one might ask what sort of thing attention is; regarding its impact, one might ask what sort of thing attention does. While these questions have been asked by philosophers for thousands of years, they have had a resurgence in recent years due to advancements in the cognitive and neural sciences. This chapter will cover some historical context as prelude to a discussion of the contemporary (...) debates, ending with issues that are as of yet still on the horizon. Topics covered include the divide between voluntary/involuntary, endogenous/exogenous, and top-down/bottom-up attention; the Posner cueing task; Treisman and the binding problem; Mack and Rock on inattentional blindness; Grassia, Campbell, and Dickie on attention, perception, and knowledge; the debate between Block, Dehaene, and others on consciousness and attention; Wu on attention and action; and future directions for attention research in predictive processing models, neuroethics, technology, and addiction. (shrink)

_The Routledge Companion to Philosophy and Film_ is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. (...) Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including _Memento_. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. _The Routledge Companion to Philosophy and Film_ is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies. (shrink)

Martin Luther King, Jr.’s “Letter from a Birmingham Jail” has been canonized as an essential statement of the political theory of civil disobedience. This article examines the early reception of King’s essay and the development of the liberal idea of civil disobedience it has become synonymous with to argue that its canonization coincided with, and displaced, the radicalization of King’s developing thinking about disobedience. It examines published and archival writings from 1965 through 1968 to reconstruct King’s power-oriented theory of “mass” (...) civil disobedience as it developed in response to the dual challenges of white backlash and Black Power. The basic challenge of mass civil disobedience is how to mobilize liberating acts of taking power without undercutting the possibility of transformative integration through sharing power. To articulate this dilemma, this article draws on an undertheorized category from John Rawls’s A Theory of Justice to conceptualize disobedience as a practice of militant love. (shrink)

This article explores basic constraints on the nature and appreciation of cinematic adaptations. An adaptation, it is argued, is a work that has been intentionally based on a source work and that faithfully and overtly imitates many of this source's characteristic features, while diverging from it in other respects. Comparisons between an adaptation and its source are essential to the appreciation of adaptations as such. In spite of many adaptation theorists' claims to the contrary, some of the comparisons essential to (...) the appreciation of adaptations as such pertain to various kinds of fidelity and to the ways in which similar types of artistic goals and problems are taken up in an adaptation and its source. (shrink)

Beginning with the prevalent idea that creativity is the ability to make or do things having valuable novelty, the paper explores a variety of axiological and novelty conditions and defends an instrumental success condition. I discuss Robert K. Merton's distinction between 'originality' and 'priority', and Margaret Boden's similar distinction between historical and psychological creativity, as well as Thomas Reid's and Bruce Vermazen's remarks on relations between novelty and value.

Love is a key concept in the theory and history of civil disobedience yet it has been purposefully neglected in recent debates in political theory. Through an examination of Martin Luther King, Jr.’s paradoxical notion of “aggressive love,” I offer a critical interpretation of love as a key concept in a vernacular black political theology, and the consequences of love’s displacement by law in liberal theories of civil disobedience. The first section locates the origins of aggressive love in an earlier (...) generation of black theologians who looked to India’s anticolonial struggle to reimagine the dignity of the oppressed as “creative survival.” The second contextualizes King’s early sermons on moral injury and self-respect within this tradition to reinterpret Stride toward Freedom’s account of the dignity-enhancing effects of nonviolent resistance as the triumph of love over fear. The third considers the implications of these arguments for conceptualizing the moral psychology of the white citizen and its consequences for contemporary debates over the ideological uses of Civil Rights history. The call to respond to oppression with aggressive love illustrates the paradoxical character of civil disobedience obscured by legal accounts as well as by criticisms of the very idea of “civil” disobedience. This is the paradox of affirming civility while enacting disobedience in order to bind political confrontation with political pedagogy. (shrink)

_Philosophy and the Vision of Language_ explores the history and enduring significance of the twentieth-century turn to language as a specific object of investigation and resource for philosophical reflection. It traces the implications of the access to language in some of the most prominent projects and results of the historical and contemporary tradition of analytic philosophy, including the projects of Frege, Wittgenstein, Sellars, Quine, Brandom, and Cavell. Additionally, it demonstrates the deep and enduring connections between the analytic tradition’s inquiry into (...) language and the parallel inquiries of phenomenology, critical theory, and deconstruction over the course of the twentieth century. Finally, it documents some of the enduring consequences of philosophy’s inquiry into language for contemporary questions of social and political life. The book provides a clear, accessible and widely inclusive introduction to the relevance of language for analytic and continental philosophy in the twentieth century and is readable by non-specialist audiences. It should contribute to a growing historical sense of the location of the analytic tradition in a broader geography of social, political and critical thought. Furthermore, it contributes to building bridges between this tradition and the neighboring continental ones from which it has all too often been estranged. (shrink)

First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.

The COVID-19 pandemic dramatically disrupted food and educational systems, laying bare institutional inadequacies and structural inequalities. While there has been ample discussion on impacts to the food system and higher education institutions separately, there has been little written through the perspective of people who navigate both. Farmers, researchers, graduate students, chefs, and many stakeholders contribute to community engaged scholarship (CES) in food systems, facing novel obstacles and opportunities with the spread of the pandemic. In this article, I utilize institutional ethnography (...) to center the experiences of the people who participated in or led CES projects during the spring and summer of 2020. The goal of this study is to understand how discourse and texts in the academic institution constrain the reality of CES partnerships and identify areas for change. My findings show that tenure and promotion guidelines and funding opportunities constrain CES partnerships, reducing opportunities for relationship building and discouraging innovative models of participation. Quantified evaluation metrics on grant rubrics and tenure and promotion guidelines privilege individual academic researchers growing large programs, writing lucrative grants for the university, and publishing profusely. However, community-led and decentralized projects were able to adapt to community priorities and sustain research projects during the pandemic. COVID-19 created obstacles to community engagement and allowed for creative approaches to community participation. By restructuring academic evaluation and funding processes to support problem-solving models of CES led by community partners, CES projects can support both academic and community priorities in times of disruption and relative stability. (shrink)

This article reconstructs a pragmatist conception of political conviction from the works of William James. Pragmatism is often criticized for failing to account for the force of moral convictions to motivate risky and confrontational political action. This article argues that such criticisms presume a conception of conviction as an experience of moral command that pragmatism rejects. In its place, pragmatism portrays the experience of conviction as acting on faith. Drawing on Gilles Deleuze’s notion of the stutter, I argue that this (...) experience of faith is neither a deliberative justification nor a form of decisionism but rather a style of moral deliberation that is experimental, social and affective. I consider the sole piece of political oratory in James’ corpus, his 1897 oration to Robert Gould Shaw and the Massachusetts 54th Regiment, as a significant example of stuttering conviction. James’ oration seeks to demonstrate the ways that convictions can take hold of actors without relying on deep philosophical foundations or justifications. Although James places his argument squarely within the context of the politics of race, he himself does not attend to the ways his celebration of Shaw obscures the moral experiences of the African–American soldiers of the 54th. In response to this blindness, the final section considers whether or not the martyrdom of John Brown provides a more appropriate conception of conviction than James’ Shaw. (shrink)

Heidegger's treatment of 'machination' in the Beiträge zur Philosophie begins the critique of technological thinking that would centrally characterize his later work. Unlike later discussions of technology, the critique of machination in Beiträge connects its arising to the predominance of 'lived-experience' ( Erlebnis ) as the concealed basis for the possibility of a pre-delineated, rule-based metaphysical understanding of the world. In this essay I explore this connection. The unity of machination and lived-experience becomes intelligible when both are traced to their (...) common root in the primordial Greek attitude of techne , originally a basic attitude of wondering knowledge of nature. But with this common root revealed, the basic connection between machination and lived-experience also emerges as an important development of one of the deepest guiding thoughts of the Western philosophical tradition: the Parmenidean assertion of the sameness of being and thinking. In the Beiträge 's analysis of machination and lived-experience, Heidegger hopes to discover a way of thinking that avoids the Western tradition's constant basic assumption of self-identity, an assumption which culminates in the modern picture of the autonomous, self-identical subject aggressively set over against a pre-delineated world of objects in a relationship of mutual confrontation. In the final section, I investigate an important and illuminating parallel to Heidegger's result: the consideration of the relationship between experience and technological ways of thinking that forms the basis of the late Wittgenstein's famous rule-following considerations. (shrink)