Ferrarese develops our thinking about the social conditions of caring for others, while arguing for an understanding of morality that is materialist and political - always-already political.

Presenting the challenges that face digital age citizens as philosophical, as opposed to technological, this paper explores the underpinning structure of digital civics through an overview of its four foundational pillars and their informing scholarship. Through this framework and the literature that supports it, a set of five key concepts are identified as a useful guide for developing digital civics initiatives, including policy and educational interventions. In closing, this work urges the further exploration of the conceptual underpinnings of digital civics (...) to improve future formulations of digital civics and digital citizenship endeavours. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education and the civic spaces of public life. Where once (...) it held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

L’article propose une étude lexico-syntaxique de la polysémie du nom truc en français, qui connaît cinq types d’emplois différents, dont certains le rapprochent de noms sous-spécifiés et/ou de noms généraux. L’analyse s’appuie sur un vaste corpus de données attestées et sur une batterie de patrons syntaxiques permettant à la fois de départager et de caractériser les différentes acceptions du nom truc. Il est ainsi montré que chaque type d’emploi de ce nom en tant que Nss se caractérise par une construction (...) privilégiée, tout en en admettant une ou plusieurs autres. Il s’avère en effet que chacun des sens du substantif truc peut être défini par une conjonction de propriétés discriminantes de nature syntaxique et sémantique. (shrink)

With the COVID-19 pandemic, governments implemented successive lockdowns that forced employees to work from home to contain the spread of the coronavirus. This crisis raises the question of the effects of mandatory work from home on employees’ well-being and performance, and whether these effects are the same for all employees. In the present study, we examined whether working at home may be related to intensity, familiarity with WFH, employees’ well-being and creativity. We also examined whether the psychological profile of employees, (...) combining preference for solitude and associated personality variables from the Big Five, may influence the effects of WFH. The data were collected via an online survey from November 13th to December 15th 2020 among 946 employees from various organizations during the second lockdown in France. In addition to identifying two distinctive psychological profiles for employees having to WFH, results revealed that those with a “Solitary” profile reported higher loneliness at work, higher levels of stress, and lower levels of job satisfaction and work engagement than those with an “Affiliative” profile. It was also found that employees with a “Solitary” profile perceived themselves as less creative and produced objectively fewer ideas than individuals with an “Affiliative” profile. The present study suggests the necessity to distinguish the profiles of teleworkers and to offer a stronger support for the less affiliative employees when working from home. (shrink)

Since all theories of knowing deal with the being of subjects, objects, instruments and environments, they can be viewed as onto-epistemological. This chapter examines key ideas that emerge from the work of Julia Kristeva – 'the speaking subject', 'materiality of language' and 'heterogeneity' – to demonstrate how ontology and epistemology are inextricably entwined in knowledge production. Kristeva also affirms both the agency of matter and the dimension of human/subjective agency implicated in cultural production. This is contrasted with Gilles Deleuze and (...) Felix Guattari’s account creative practice. The article also draws on the artistic work of researcher-practitioner Brian Martin, and his account of the relationship between Indigenous Australian art and culture to demonstrate that in an Indigenous world view, the real, the immaterial, the imaginary and the representational occur concurrently. (shrink)

The ARAROEM project stands for the Archives from Rhône-Alpes and Romandie gathering ephemeral objects inspired by medievalism. This is a project of research and of scientific education, which aims to collect and analyse multiples products made by craftspeople and industrial companies interested by the imaginary of Middle Ages. With a clear methodology, the project investigates three fundamental criteria to understand the Ephemeral Medievalist Objects (EMO): the symbolic value of the objects, the product lifespan and the durability. It involves various disciplines (...) such as medieval history, medievalisn, semiology, economy, sociology, anthropology and ecology. (shrink)

Vulnerability is a concept with fleeting contours as much it is an idea with assured academic success. In the United States, torturable, "mutilatable," and killable bodies are a wide topic of discussion, especially after September 11 and the ensuing bellicosity. In Europe, current reflection on vulnerability has emerged from a thematic of precarity and exclusion; the term evokes lives that are dispensable, evictable, deportable, and the abandoning of individuals to naked forces of the market. But if the theme has had (...) notable fortune, it also continues to come up against considerable reluctance. The political scope of vulnerability is often denied: it seems inevitably to be relegated to the sphere of "good sentiments." This book aims to address this criticism. It shows that by questioning our hegemonic anthropology, by reinventing the categories of freedom, equality, and being-in-common based on the body, by overthrowing the legitimate grammar of political discourse, and by redefining the political subject – the category of vulnerability, far from being conservative or a-political, works to undo the world such as it is. This book was originally published as a special issue of _Critical Horizons. _. (shrink)

In _Vulnerability and Critical Theory_, Estelle Ferrarese identifies contemporary developments on the theme of vulnerability within critical theory while also seeking to reconstruct an idea of vulnerability that enables an articulation of the political and demonstrates how it is socially produced.

Abstract:In this article, I transpose the word "love" for "be" in Hamlet's existential question in his soliloquy concerning life and death penned by William Shakespeare, "To be or not to be: That is the question." Thinking through the ethical imperatives of love and its ancillary values of friendship, desire, and devotion in Western classical music and music education, I sketch critically the role of love in this musical tradition and its transmission and transformation. I then trace some of the implications (...) of this analysis for musical education. (shrink)

Carnal Knowledge is an outcome of the renewed energy and interest in moving beyond the discursive construction of reality to understand the relationship between what is conceived of as reality and materiality, described as the "material turn." It draws together established and emerging writers, whose research spans dance, music, film, fashion, design, photography, literature, painting and stereo-immersive VR, to demonstrate how art allows us to map the complex relations between nature and culture, between the body, language and knowledge. These writings (...) are unique in the field because they represent the authors' commitment to a new materialism through the creative arts. The questions they address include: Does the material turn in the creative arts take a different turn from continental epistemology, philosophy and the humanities? How does the agency of matter, the material nature of artistic practice and the notion of "truth to materials" affect what we understand as the "new materialism?" In engaging with these questions the book offers perspectives on the emergence of this exciting fresh field of new materialism. (shrink)

Although Judith Butler regards recognition as the theme unifying her work, one finds a striking absence of dialogue between her and the authors of the normative theories of recognition – Honneth, Habermas, Ricoeur, etc. In the present article I seek to call into question this sentiment, shared by the two sides, of a radical theoretical heterogeneity. First I seek to show that the theory of performativity which Butler developed initially, contrary to all expectations, sets her relatively apart from the tradition (...) to which she conforms (the French reading of Hegel), and brings her closer to the proposition represented by the normative theories of recognition in general, and that of Honneth in particular. Then I highlight how the recent modulations in her theory, through the appearance of the idea of a constitutive vulnerability, which enables her to found an ethics, undermine for once and for all the claim of irreducibility maintained by each of the two theories in relation to the other. (shrink)

This paper aims to refute the idea whereby giving consideration to vulnerability can only lead to an ethics, or is only relative to a politics derived from morality. I first shed some light on the seeming impossibility experienced by a large number of contemporary theories of vulnerability to fully think the political. Second, I define what one overlooks in the political when one simply considers it as a sphere of implementation of moral principles. Finally, I interpret care theories as an (...) attempt to overcome the difficulty of thinking the political from the viewpoint of vulnerability, and I define the political as a movement of reengaging with and transforming what is already instituted. (shrink)

Using the idea of community as a metaphor for and metaphorical model of music education, aspects of the notions of community as place, in time, as process, and as end are explored and implications for music education are discussed.

Research within the H2020 PROGRESSIVE project has identified good practices in user co-production strategies and methodologies. Early findings from research in the PROGRESSIVE project were shared with relevant stakeholders outside the consortium for consultation and review. The outcomes of that initial investigation highlighted the need to focus on the objectives, processes, and methods used in user and older people co-production. This guide adapts these insights and makes them relevant specifically for standardisation in ICT for active and healthy ageing. This guide (...) was approved by representatives of the PROGRESSIVE project on 22 February 2018. The consortium has requested comments from interested stakeholders in an enquiry from 1 March to 30 April 2018. The PROGRESSIVE guide was approved on 5 June 2018. (shrink)

For Kristeva, in a world immersed in readymade images, art or aesthetic experience is a practice that constitutes both a subject & an object that is able to transform meaning & consciousness. This book examines key ideas in her work to show how they are most relevant to artists, & how they can be applied in interpreting artworks.

Physiological experiments conducted over the last 60 years indicate that the plant hormone auxin regulates a diverse set of developmental processes via changes in cell division, cell elongation and cell differentiation. Recent studies using transgenic plants with altered auxin levels support these conclusions and promise to provide more detailed information on the role of auxin during plant development. Although it is possible that all auxin responses are mediated by the same primary biochemical events, the studies described in this review are (...) more consistent with multiple modes of auxin action. The development of molecular and genetic approaches to the study of hormone action should resolve this issue. The accelerated rate of progress in this field suggests that real insight into the mechanism of auxin action may be forthcoming. (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)

This essay examines Alfred North Whitehead's claim that education should be construed as religious, and by extension, that music education should be religious. The analysis of questions relating to Whitehead's understanding of the notion of "religious," the defensibility of his claim, and its implications for notions of spirituality and music education and the practical work of music education is cast against the backdrop of the constitutional prohibition of the establishment of religion in the United States.

As the media wrestle with ethical and legal problems in coverage of AIDS stories, such as privacy, terminology, and disclosure, a question is raised about the educational role the media will assume in the face of this health threat. Despite health department hopes for candor in dealing with the threat, blunt?language ads and commercials have been rejected by most New York City media and legislation may restrict the extent to which media deal with the question. Though the media alone cannot (...) bear the burden of AIDS education, they must provide point?man services. (shrink)

Je tente de mettre en évidence trois pôles thématiques qui structurent la résurgence actuelle de l’idée de vulnérabilité, pôles qui sont à comprendre comme constitués dans un champ de tensions, et n’existant jamais sous une forme pure. Je distingue le modèle d’une disponibilité à la blessure physique et morale, celui d’une association stricte de l’idée de vulnérabilité au concept de dépendance, et enfin la vulnérabilité comme impropriété de soi. Et dans la mesure où la notion de vulnérabilité suppose davantage que (...) la susceptibilité de certains torts, mais implique qu’ils peuvent être prévenus, un large espace pour l’éthique et/ou à l’action politique, à l’organisation collective, s’ouvre à chaque fois, que je m’efforce d’esquisser. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. Estelle Carol The Chicago Women’s Graphics Collective: A Memoir In 1973, the Chicago Women’s Graphics Collective worked in an old run-down second-floor office on Belmont Avenue, which we shared with the main offices of the Chicago Women’s Liberation Union (CWLU).1 They call it New Town now, but in 1973, there wasn’t much new about it. We (...) weren’t the only artists in the building though; downstairs was a tattoo parlor. Still, it was better than having the studio located in my apartment on Newport Street, where there were silkscreen tables in the dining room and a bathroom that doubled as a darkroom. My bedroom door opened directly into the dining room and usually reeked of the foul chemicals we used to make the posters. Just one OSHA inspection would have shut us down forever, but it was not until later that we learned about the dangers of long-term exposure. On Newport Street, the apartment was right next to the Ravenswood Branch of the “L,” and it shook like the aftershock of a California earthquake each time a train passed. But we were in the midst of a women’s revolution, and our priorities were clear. 1. The Chicago Women’s Graphics Collective (WGC) was a “workgroup” of the CWLU from the very start. There were about 25 workgroups and other groups within the CWLU. CWLU outreach to recruit new members got a lot of new women into WGC. WGC, Women’s Liberation Rock Band, and Womankind Newspaper were the cultural arms of the CWLU. Cultural outreach to attract new CWLU members and new feminists to the movement in general was critical to the CWLU’s success. In Celebration of Amazons, 194. All posters designed and silkscreened collectively by the Chicago Women’s Liberation Union, www.cwluherstory.org. Courtesy of CWLU Herstory Project. All posters are on silkscreen. Turning Through Time, Workwoven, 195. Sisterhood Is Blooming, Springtime Will Never Be the Same, 190. Chicago Women’s Labor History, 194. International Women’s Day (reprinted from a Cuban poster). ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. OPPOSITE Chicago Maternity Center, 192. ABOVE Lesbian Pride, 192. Mountain-Moving Day, 192. ABOVE Detail from Mountain-Moving Day, 192. OPPOSITE Women Unite, Take Back the Night, 199. Lipstick and Blood (reprinted from a Cuban design). Women Are Not Chicks, 191. Liberation School for Women, 192. Boycott Red Coach Lettuce, 192. Working Women Unite, 195. International Women’s Day, Many Waves But One Ocean, 192. Estelle Carol 121 If you look at Chicago Women’s Graphics Collective posters, you’ll rarely see a person’s name on them, because we decided early on that art had been done all wrong by men. It was based on egotism and the cult of the individual—the great-men-of-art syndrome. So we decided to throw all that out, and art now had to be a collective experience. So every poster that we created had to be done by committee. Every one. We had a system in which any one of the collective could get an idea or a phrase or an image and decide to do a poster. They would ask two or three other members to be their assistants and to help develop the idea. And then in little teams they would physically create the poster in silk screen. It had to be a collective process. There’s no way that one single woman could really do it because we were using very primitive reproduction methods, and we needed at least three people to run the silk screen. The silk screens were all hand printed. No machines. If a poster was more than one color, it had to be hand printed, one color at a time, so it was very, very labor intensive. And... (shrink)