La planète est exténuée. L'humanité dans son ensemble traverse une mauvaise passe. A tel point que certains chercheurs professent l'effondrement, voire la fin de notre civilisation. Ces lanceurs d'alerte cosmique ne sont pas de simples illuminés. Ils comptent parmi eux des intellectuels de renom et des savants influents. Dans le même état d'esprit, des ingénieurs futuristes, anticipant une évolution qu'ils jugent inéluctable, programment le remplacement de notre espèce par des créatures hybrides d'un nouveau genre, humains augmentés ou améliorés. Demain, assurent-ils, (...) la "Singularité" assurera la relève du genre humain. L'ère du posthumanisme serait déjà entamée. Faut-il s'en féliciter? Laurence Hansen-Love expose ici les tenants et les aboutissants d'un débat qui nous concerne tous et dont les enjeux sont vertigineux. (shrink)

The book consists of three problem areas which are all connected with the question of creativity, esp. in gthe arts and poetry: It is about the ancient mythopoetic concept of the muses and their collision with the beloved of the poet, about the authority crisis of authorship and the dominance of the author over his creatures and fictional characters as well as their revolt against the father of the text and about a typ of creating and writing which acts against (...) all genetic traditions of authorship in the form of conception and birth, genealogical derivation. In this sense the, anti-generic' creativity doesn't originate and invent a work of art or a cultural phenomenon: the anti-generic product is something made, something constructed and not fgenerated, manufactured and not breed. This anti-oedupus-concept workts in a widespread tradition of the arts and literature, starting from our heroes of deconstructed narrative as Sterne's or Diderot's, over the classics of european realism Dostoevski or Flaubert until Nabokov and his, pregnant muse' Lolita. Wenn es ums Schaffen geht oder gar ums Schöpferische, liegt nichts so nahe wie das scheinbar unerschöpfliche Feld der Geburtsmetaphern, das Reden vom Zeugen und Empfangen, vom Austragen und Gebären eines Werkes, das für das Kind steht - ja dieses gar ersetzen soll. Die in diesem Band versammelten Überlegungen verknüpfen drei Problemkreise: Es geht um die Projektionsfigur der Musen und ihrer Kollision mit der Dichtergeliebten, um die permanente Autoritätskrise im Verhältnis des Autors zu seinen eigenen Geschöpfen und um die Entdeckung eines Kunstschaffens und Schreibens, das alle genetischen wie generischen Modi der Hervorbringung gegen den Strich dichtet und also konsequent antigenerisch verfährt. Vorgeführt werden diese drei Problemkreise an klassischen Texten des antigenerischen. Zuletzt bleibt die Frage nach den Musen der Musen und den Paradoxa der Dame Dichterin mit Blick auf ihre Inspirationsquellen. (shrink)

The article considers whether tolerance, in the classical liberal sense, should be promoted in public education. The most substantial counter-argument is that it is problematic to uphold the ?objection condition,? explained below, which is an integral part of classical tolerance, while maintaining tolerance as a virtue. As a response to this, I first discuss an alternative interpretation of tolerance ? ?tolerance as being open-minded, unprejudiced and positive towards difference.? I contend that this understanding is not the preferable one in public (...) education, because it lacks sufficient distinctiveness and threatens to marginalize or exclude the classical concept of tolerance. I instead propose a modified version of classical tolerance to be promoted in public education, whereby permissible objections are restricted so as not to disrespect persons. This version allows, however, for pupils to have a wide range of objections while still being candidates for being called tolerant, with the result that promoting tolerance may clash with other important educational objectives. I argue that promoting tolerance is still needed as part of a robust educational approach to plurality in modern democratic states, but that we must be willing to accept that promoting tolerance sometimes assumes the place of a second-best educational alternative. (shrink)

This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the death of (...) the Buddha located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love. (shrink)

"Although Love is a primary essence of human living, it has always been a difficult subject to study. Scholars and researchers up to modern times have generally held that Love is a much too subjective experience to be the target of serious scientific scrutiny. The author challenges this tradition by taking the reader on an excursion of Love . . . subjecting Love to a totally new rigorous analysis . . . as a 'more objective' and scientifically valid phenomenon . (...) . . Love as 'technology' was first proposed by sociology Professor Pitirim Sorokin of Harvard in the 1950s . . ." - Dustjacket, p. [2]. (shrink)

Professor Robert John Barrett died suddenly, after a long and difficult illness, on January 12th, 2007. At the time of his death, at the age of 57, he was Head of the Discipline of Psychiatry at the Royal Adelaide Hospital, University of Adelaide. His passing was mourned by countless individuals in Australia and internationally. The celebration of his life, held in the University of Adelaide’s Bonython Hall, from which generations of scholars have received their parchments upon graduation, was an emotive (...) ritual of which Rob would have both approved and also enjoyed immensely. The Hall was filled to capacity, with over 1,300 people listening to a collection of his favourite music and tributes delivered by eight of his friends and family members. Dignitaries in full academic regalia, including the Vice-Chancellor, the immediate past and current Deans of Medicine, and the Head of School oversaw proceedings from an elevated position in the Hall, the symbolic meaning of which would have caused Rob to smile wryly. A reflection of his life in pictures, at the conclusion of the ceremony, before the pall-bearers carried his coffin to the hearse, evoked yet more tears and grief at the tragic and untimely loss of this man: an outstanding intellectual, wise mentor, gifted teacher, caring doctor, and true and loyal friend. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can seem (...) to have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

La science du bien et du mal n'a jamais existé, et si Platon s'en désolait, nous avons cessé, nous, les Modernes, de nous en offusquer. Et pourtant, des questions d'ordre éthique nous sont incessamment posées aujourd'hui, ni plus ni moins que par le passé: quelles valeurs morales devons-nous promouvoir à l'école? Est-il acceptable d'abandonner à leur sort les familles de migrants fuyant la guerre? Notre pays, la France, doit-il intervenir militairement contre tel ou tel État dit "terroriste"?, etc. Face à (...) de telles interrogations, nous ne pouvons nous contenter de suspendre notre jugement sous couvert de relativisme ("À chacun sa conception du bien et du mal"). Prenant appui sur les réflexions de grands philosophes et théologiens face au défi du mal, tout en interrogeant la montée de nouvelles formes de violences au XXIe siècle, Laurence Hansen-Love pose la question: le bien et le mal sont-ils vraiment des notions obsolètes? Une fois récusée la fausse évidence d'une symétrie entre le bien et le mal, il est possible de prendre acte de la préséance du mal sur le bien. Dès lors, la certitude du mal, posée comme un fait, cesse de contredire l'incertitude du bien, à laquelle il apparaît sage de se résoudre."--Page 4 of cover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Dialogue:The Principle of Civility in Academic DiscourseForest HansenSeveral months ago New York Times columnist David Brooks addressed the lack of civility in recent public discourse. "So... you get narcissists who believe they or members of their party possess direct access to the truth.... You get people who prefer monologues to dialogue.... You get people who... loathe their political opponents."1One might think that by contrast academia, and especially academic (...) publications, would provide a bastion of civil discourse. Alas, even academia has been infiltrated. At least it so appears to me when I read some of what has been recently published in the name of the philosophy of music education.I find that disheartening.However one defines "philosophy," it minimally entails raising questions whose answers are reasonably debatable. The key word here is "reasonably." Those who are committed to philosophical activity criticize positions they oppose by formulating arguments, giving examples, calling on accepted facts, clarifying the meaning of terms, and bringing to bear the principles of formal and informal logic. And thus they open themselves to counter-criticism of the same [End Page 198] sort. Nowhere in this enterprise is there need—or room—for invective, sarcasm, name-calling, ad hominems, or any other kind of personal abuse. One might call this The Principle of Civility in Academic Discourse.Philosophy differs in this respect from polemics. In one of its senses "polemics" means "the art or practice of disputation or controversy," and so seems a close cousin to philosophy. However, while "philosophy" traces its etymological roots to "love" and "wisdom," "polemics" is derived from "war." Polemics is a kind of verbal warfare. Typically polemicists are willing to use any tool at their disposal—even underhanded ones—to "win" the war of ideas. Polemics in this usual sense dispenses with objectivity and fairness (though it may make such a pretense). In fact, people who mount personal attacks thereby reveal their lack of philosophical tools and diminish their argument.Distinguishing philosophy from polemics does not mean that all philosophical claims are equal. Some positions are stronger than others, some weaker. Some can be dismissed relatively out of hand if they are illogical or do not square with normal experience. But even when positions are inadequate, the persons who advance the positions deserve to be treated with courtesy, respect, and collegiality.Typically, people trained in philosophy assimilate this principle as a matter of course. They have learned that over the centuries great minds have disagreed about every philosophical issue—whether the make-up of ultimate reality, the nature and sources of knowledge, the existence of god, the justification of morality. So too with what the nature of music is, what music should be taught and how, what is the purpose of music education.No one has a corner on the answers to such questions. The floor should always be open to debate—to consideration of new proposals and reconsideration of old ones. In disciplines where some matters are more or less settled (as in natural science and mathematics), such arguments disappear and new quests hope to find new settled answers. But in philosophy, more fundamentally than in any other traditional academic discipline, the discussion, the reasoned argumentation, is ongoing.Many years ago Douglas Morgan, in his essay "Must Art Tell the Truth"2 eloquently captured this spirit of philosophy:Philosophy is itself to be conceived as an invitational, dialectical activity rather than as any system of dicta. A philosopher can be thought of as [one] who, far from commanding assent with any thunderous barrage of argumentative artillery, invites you to think [about] the world or some aspect of it in a somewhat different way. "Come in," [the philosopher] says cordially, "and welcome. Sit down. Let me mix you an idea. Sip this thought, and tell me how your own experience looks. If you should find my way of construing our [End Page 199] world unappetizing or unpromising, pray show me your way. Let us once again in the good old Greek way, dia-lego, talk it through together."Finally, The Principle of Civility in Academic Discourse ought to be conveyed in our classrooms, as we foster new generations in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Written on the Body, Written by the SensesJennifer L. Hansen"Explore me," you said and I collected my ropes, flasks and maps, expecting to be back home soon. I dropped into the mass of you and I cannot find the way out. Sometimes I think I'm free, coughed up like Jonah from the whale, but then I turn a corner and recognize myself again. Myself in your skin, myself (...) lodged in your bones, myself floating in the cavities that decorate every surgeon's wall. That is how I know you. You are what I know.1Ever since Plato wished to banish the poets from the republic (Republic 607b2),2 philosophy has stood in a vexed relationship to literature. There seem to be at least three reasons for philosophy's traditional contempt for literature as a reliable means to truth: (a) because literature engages the passions of a reader, it may cloud the reader's ability to deliberate calmly and rationally about any given account of how things really are; (b) literature most commonly deals with the particular and concrete and therefore cannot claim to a more general or universal truth, and; (c) literature is too open-ended and ambiguous in its meaning, which, again, obstructs the reader's view of how things really are. Though the writer is imitating the world, is holding up a mirror to it—a speculum mundi—literature's images are mere appearances.Philosophy, on the contrary, aims for a kind of "transcendental vision." Either philosophy looks beyond the particular appearances of things in the world to find the one structure which unites all instances of the thing, or philosophy claims that the structure of each object is supplied by consciousness, which then delimits and bounds each object, and places it in space and time so that the scientist can better dissect, measure, and catalogue it. That is, either philosophers, in the [End Page 365] tradition of Parmenides, aim to find the one in the many—as Socrates explains in the Republic "we are accustomed to assuming one Form in each case for the many particulars" (596a4–5)—or as in Kant's Copernican revolutionary thinking, consciousness renders the object of experience a knowable thing.While this transcendental vision proves quite useful for the scientist who deals with the empirical, it proves less useful where the task would be to conceptualize what is not a possible object of experience. While the scientist can indeed dissect and probe the body to understand how it functions, the scientist is less likely to discover what it means for a body to love, or to be free. In the "The Antinomy of Pure Reason" in the first Critique, Kant, in fact, left us with a choice about what philosophy's true object should be: either we restrict philosophy to the empirical world and its logic, or we pursue metaphysical questions about God or Freedom which cannot be grasped.3 On pain of contradiction, we cannot have both. In chapter three of the Transcendental Doctrine Judgment, "The Ground of the Distinction of all Objects in General into Phenomena and Noumena," Kant uses a wonderful metaphor to illustrate the dangers of Pure Reason venturing into metaphysical questions, and thereby employing the categories beyond the empirical: "This domain is an island, enclosed by nature itself with unalterable limits. It is the land of truth—enchanting name!—surrounded by a wide and stormy ocean, the native home of illusion, where many a fog bank and many a swiftly melting iceberg give the deceptive appearance of farther shores, deluding the adventurous seafarer ever anew with empty hopes, and engaging him in enterprises which he can never abandon and yet is unable to carry to completion" (CR, 257). If we allow ourselves to be allured by the deceptive appearance of farther shores, then we are not engaged in philosophy, but speculation or mysticism. We cannot provide an account for such knowledge in universal terms, in arguments, in logic. And yet, as Kant himself very well knew, these are questions that we are, as humans, compelled to raise. At the outset of the Transcendental Dialectic, Kant makes clear that reason will ineluctably be led... (shrink)

This important book examines how the growing field of cybernetic psychology - the study of the creative complexity of the mind - can be applied to a range of different realms, tapping into the unconscious potential within us all. Cybernetic psychology integrates theories from various schools of thought, bringing them together in one unified theory. First developed and described by Danish author and psychotherapist Ole Vedfelt. It can be used in therapeutic practice, in relation to learning and pedagogics, and as (...) a tool for better leadership. The 15 chapters within this volume apply the theory to these as well as other areas, including ecology, creativity, mindfulness and scientific enquiry itself. Insightful and wide-ranging, the book will appeal to psychotherapists and those working within mental health, as well as students and researchers across Education, Psychology and beyond. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Foam-Born Aphrodite and the Mythology of TransformationWilliam HansenIn his account of the birth of Aphrodite (Theogony 176-200), Hesiod tells how Kronos castrated his father, Ouranos, and threw the severed genitals into the sea.1 The narrator envisions Kronos waiting in ambush upon the mainland (or, from another perspective, upon his mother Gaia) with a sickle in his hand. When Ouranos descends, stretching himself out over Gaia in order to engage (...) in sexual intercourse, Kronos takes hold of his father's genitals with his left hand, cuts them off with his adamantine sickle, and casts them behind him. As the severed organ hurtles through the air, blood falls from it onto the land below, impregnating Gaia with several kinds of offspring. It settles finally upon the waters of the sea; in time foam issuing from the organ surrounds it, and within the foam a girl coalesces. Making her way to land, she passes by the island of Kythera, located off the southern coast of the Peloponnese, and reaches distant Cyprus, where she emerges [End Page 1] onto dry land.2 The circumstances of her birth, Hesiod explains, account for her epithet "Fond-of-genitals," just as her particular route is commemorated in the epithets "Cytherean" and "Cyprus-born," which link her to particular sites. She can be said to have been born on Cyprus because it was there that she emerged from her foam-womb, the matrix in which she developed.3180185190195200 [End Page 2]Great Ouranos came bringing on night, and around Gaiahe spread himself out in his longing for love, and was stretched outin every direction. From ambush his son reached outwith his left hand and with his right hand took the huge sickle,180 long and saw-toothed, and furiously cut offthe genitals of his own father and threw them backwards to be bornebehind him. But they did not escape his hand without effect,for all the drops of blood that rushed outGaia received, and in due time185 she brought forth the powerful Erinyes and the great Giants,shining in their armor and with long spears in their hands,and the nymphs whom they call Meliai on the boundless earth.Now after he had cut off his genitals with adamantand had cast them down from the mainland to the stormy sea,190 they were borne along the sea for a long time, and around them whitefoam arose from the immortal flesh, and in it a girlgrew. First she approached holy Kythera, and from thereshe reached sea-washed Cyprus.Out of the sea the reverend and beautiful goddess stepped, and round about195 grass grew beneath her slender feet. Her["Foam-born" goddess and fair-garlanded "Cytherean"]gods and men call Aphrodite, becauseshe grew in foam, "Cytherean" because she reached Kythera, and also"Cyprus-born" because she was born on stormy Cyprus, and200 "Fond-of-genitals" because she came forth from genitals.In this passage the poet manifestly strives to bring Aphrodite into association with as many aspects of her cult as possible while at the same time maintaining a dramatically coherent narrative. Aspects of the goddess that the narrator acknowledges explicitly include the name Aphrodite itself (she develops in aphros, "foam, slaver, froth, sperm");4 her epithet "Fond-of-genitals" (she is born from a severed sexual organ), which suggests also her role as goddess of sexuality; her epithet [End Page 3] Kythereia (she passes near Kythera); and her epithet Kyprogeneia (she comes ashore at Cyprus).5 Aspects of the goddess that are possibly signaled here implicitly are her role as a divinity of the sea (she is born at sea) and her title Aphrodite Ourania ("Aphrodite, Daughter of Ouranos" and/or "Celestial Aphrodite" as opposed to Aphrodite Pandemos, "common Aphrodite").6 So the narrative teems with references to different aspects of Aphrodite.An element of considerable importance in this narrative is foam. The goddess originates in it, and she gets her name from it. The reason why the myth brings Aphrodite and foam into a significant relationship is doubtless because in popular etymology her name... (shrink)

In "New Forms of Revolt," Julia Kristeva maintains that intimate revolt is a necessary, if imperiled, mode of contemporary resistance. This essay reflects on the pedagogical dimensions of intimate revolt and its fate in university contexts, especially in the United States. I argue that a Kristevan pedagogical revolt involves upheavals of thought supported by loving listening relationships.

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Bennett ReimerForest HansenIn late afternoon on January 9, 2014, family members, colleagues, former students, and other friends met at Northwestern University to reflect upon and honor the life of Bennett Reimer, who had died from cancer on November 18, 2013 at the age of 81. The printed program fittingly called it a “Memorial Celebration,” because that is what it was. Fine wine and savory hors d’oeuvres were (...) served, a woodwind quartet of Bienen School of Music graduate students played Reimer favorites, and Beth Hebert, Bennett’s life partner of 27 years, greeted every person as they entered the hall. Reimer would have approved of the exuberant tastefulness of the event. He would probably have blushed and demurred, however, when in the formal part of the program his colleagues, daughters, and former students praised him in recalling specific occasions of his mentoring, inspiring, modeling, guiding, collaborating, and originating. (In his writing Reimer loved such extensive discriminatory lists.) Included among the expressions of respect and affection were these words by Estelle Jorgensen, who could not be present, read by Randall Allsup: [End Page 101]We have lost a wonderful person who lived life richly and made an outstanding contribution to the field of music education and beyond. In honor of his work as a philosopher of music education, among the many facets of his professional life, the Philosophy of Music Education Review will have a special issue devoted to the ideas that he left us, contributed by prominent music educational leaders and writers. Such moments of professional loss leave a rent in our midst that can never quite be patched. Along with our sorrow is our memory of the joy, idealism, and hope that characterized his lived life. We cling collectively to the memories of the blessings he brought us in simply being Bennett.Reimer was born on June 19, 1932 in Brooklyn, where he grew up. He earned a B.S. in music education in 1954 at SUNY at Fredonia and an M.S. (1955) and Ed.D. (1963) at the University of Illinois, Urbana-Champaign. His teaching career started at the Richmond Professional Institute of the College of William and Mary (1955–57) and continued at Madison College (Harrisburg VA) (1958–1960) and the University of Illinois (1960–65). At Case Western Reserve University (1965–1978), he became chair of the Music Education Department and holder of the Kulas Endowed Chair in Music. Then at Northwestern University he held the John W. Beattie Chair in Music from 1978 until his retirement in 1997. He chaired the Music Education Department there, directed the doctoral program in music education, and founded and directed the Center for the Study of Education and the Musical Experience—a weekly research forum for graduate students and faculty. Although Reimer had started out as an instructor in clarinet and oboe, musical theory, conducting, and music appreciation, he became a scholar, teacher, and lecturer in the new field of philosophy of music education with a worldwide following and reputation.Reimer was most noted for his seminal A Philosophy of Music Education (1970), which can fittingly be described as the founding document of the discipline. Typically he made revisions for the second edition in 1989 and more radical ones for the third edition in 2003, retitled as A Philosophy of Music Education: Advancing the Vision. This work has been translated into French, Japanese, and Chinese, and, forthcoming, Greek. He was associated with PMER and the International Society for Philosophy of Music Education (ISPME) from their beginnings in 1990.Besides his seminal works, Reimer wrote or co-wrote another twenty books and more than 150 articles, reviews, and book chapters. A few of his book titles indicate the range of his thought, from his early and widely used textbooks The Experience of Music (1971) for college students and Silver Burdett Music for grades 1–8 to his more recent Performing with Understanding: The Challenge of the National Standards for Musical Education (2000), World Musics and Music [End Page 102] Education: Facing the Issues (2002), and Seeking the Significance of Music Education (2009). He was an active participant and leader in a host of other music... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 200-202 [Access article in PDF] Bennett Reimer, A Philosophy of Music Education:advancing the Vision, Third Edition. (upper Saddle River, New Jersey: Prentice In his third and greatly revised edition of A Philosophy of Music Education, Bennett Reimer fulfills the promise of his subtitle, Advancing the Vision. While incorporating essentials and a few passages of his previous edition, its thrust is to present (...) and argue for a new theory of musical intelligences. Here Reimer is pushing into a theoretical frontier, one that he sees as crucially relevant to the music education concerns that have so long been at the heart of his thinking.So although this is a new edition, third time around, of a classic in the field of philosophy of music education by one of its "elder statespersons," it is in many ways a new book. Reimer has never been a thinker to rest on his past achievements. He demonstrates here his ongoing curiosity about issues he has been wrestling with for decades. He engages in debate (as sympathetically as possible) with others who are also forging new ideas. Interacting with their ideas and his own former ones, he generates new ways of thinking about what is involved in musical composing, performing, listening, and theorizing. He uses all this as ground for challenging students and teachers of music to reflect on their own philosophical or pre-philosophical assumptions, their learning and teaching practices, and their [End Page 200] opportunities to make music even more meaningful in their lives and the lives of others. All this is informed by his evident (without his ever making an overt claim for it) love of music, love of philosophizing about music and music education, and his love of teaching about music. I will comment here on just some of the many notable features of the new edition.Reimer announces his approach as synergistic—that is, looking for areas of agreement beneath the surface of what seem to be radically opposing positions (between absolutism and relativism concerning musical value, for instance). What is especially noteworthy is that he demonstrates this moderation throughout his book. This does not lead to his being uncritical; in fact, he is highly critical of some stances and in Chapter 1 makes a devastating attack on postmodernism in music education. But generally he seeks to find what is worthwhile in the views of others and what he can assimilate from their thinking.While valuing musical performance and especially the successful record on teaching performance in American schools, Reimer believes that music education should have much wider concerns: to provide the groundwork for students interested in composing, conducting, improvising, arranging, reviewing, theorizing, and above all listening. Listening, he persuasively argues, is the core skill for all the other activities or roles, and it is also the skill probably most useful in the long run for the greatest number of students. Few, after all, will go on to become professional performers or music creators in some other role, and not many will even become highly competent performing amateurs. But almost everyone can develop some skills in active listening, and they deserve the attention in music education that has been mostly lacking. In the program Reimer advocates, the largest potential student population will become (in his aptly chosen term) aficionados—intelligent, discriminatory listeners. Some of this is attended to in colleges and universities, but by then the opportunity for many has passed.Building on Howard Gardner's theory of multiple intelligences, Reimer points out the limitations of analysis in terms of simply one musical intelligence. The abilities needed for musical activities are not all the same, even though they have the common requirement of listening skill. The notion of multiple musical intelligences (specifically composing, performing, improvising, listening, music theory, musicology, and music teaching) provides a rich basis and suggests new possible methods for broadening music education at all school levels. It also indicates a worthwhile area both for future research and for application beyond the field of music. Education, Reimer says, should be thought of... (shrink)

The article examines the explicit and implicit role that Kierkegaard played in the cultural criticism developed in the literary circle of the Danish journal Heretica (1948 – 1954). The cultural criticism of Kierkegaard and eminent Danish post-war authors (Martin A. Hansen, Vilhem Grønbech, Bjørn Poulsen, Tage Skou-Hansen and Ole Wivel) is contextualized in the tradition of Western cultural criticism. An analysis of central concepts such as crisis, rationality, spirit and reflection as well as alienation, individuality and community, demonstrates (...) the original contributions these authors make to the modern understanding of culture. Furthermore, the article addresses the reservations that some of the Heretica- authors had towards Kierkegaard. The accusation of solipsism, however, turns out to be unwarranted. Rather, it becomes clear that Kierkegaard’s emphasis on the individual, like the post-war authors’ critique of fascism, is directed against the power of the masses and the increasing bureaucratization of life. Finally, Kierkegaard as well as the 20th century authors depict neighbor love as decisive for a post-restitutive, forward-oriented way out of a severe cultural crisis. (shrink)

Legality, interdisciplinarity and the study of practice -- Re-thinkinking interdisciplinarity by re-reading hume -- Tainted love : the struggle over legality in international relations and international law -- The power of legality, legitimacy and the (im)possibility of interdisciplinary research -- Moving while standing still : law, politics and hard cases -- International law, Kelsen and the aberrant revolution : excavating the politics and practices of revolutionary legality in Rhodesia and beyond -- Juris dicere : custom as a matrix, custom as (...) a norm, and the role of judges and (their) ideology in custom making -- Multiple legalities and international criminal tribunals : juridical versus political legality -- Palestine's quest for statehood and the practice of the United Nations -- Regulatory legality : extraterritorial rule across domestic and international arenas -- Legality and lawfare in regime implementation -- Whose legality? Rule of law missions and the case of Kosovo -- Perspectives on the perils, promise, politics - and practice of interdisciplinarity. (shrink)

This article introduces some contemporary philosophical approaches to vulnerability including that of Judith Butler, while focusing on feminist legal theorist Martha Albertson Fineman's concept of the vulnerable subject, developed out of Fineman's earlier critiques of the autonomous, self-sufficient subject of liberal political philosophy. It then looks closely at the different forms of vulnerability exhibited by the leading protagonists of Mia Hansen-Løve's All Is Forgiven, Father of My Children, Goodbye First Love, Eden and Maya, all of whom except one (...) are men, drawing on Lawrence Schehr's writing about French postmodern masculinities and work by Geneviève Sellier on the changing dynamics of heterosexual gender relations in French cinema in order to forge an account of vulnerable male bodies and masculinities appropriate to the contemporary context of the films discussed. To conclude, it returns to Fineman to suggest that her at least implicitly feminist concept of the vulnerable subject can offer a more persuasive account of the gendered character of vulnerability in Hansen-Løve's films than can Butler's recent ethical writings. (shrink)

Is the term ‘racist’ being applied so widely that it is losing its moral force? Theorists and pundits from across the political spectrum think that it is. They call such a change of meaning “conceptual inflation” and argue that we should try to stop it by restricting the use of ‘racist’ or replacing ‘racist’ with new expressions. But what evidence do we have that ‘racist’ is inflated? Economists do not track currency inflation with mere vibes; they use measurements such as (...) the consumer price index. For example, using CPI, it is observable that there has been considerable US dollar inflation over the last three decades or so: $1.00 in 1989 has the purchasing power of $2.54 in 2024. If ‘racist’ has undergone a similar transformation, as critics of conceptual inflation contend, how could that be measured? Before plunging into the normative debate about whether conceptual inflation is good or bad, we should gather systematic empirical evidence about whether the purported conceptual inflation of ‘racist’ is in fact happening. That is what we do in this paper: we use an apparent time study, a technique drawn from sociolinguistics, to measure whether ‘racist’ is undergoing conceptual inflation. An apparent time study looks at the linguistic behavior of people of different ages as a way of measuring linguistic variation over time. We distinguish two processes that constitute conceptual inflation: extension expansion and intensity bleaching. Across three studies, we found some equivocal evidence that ‘racist’ has undergone extension expansion—its reference class may have slightly expanded—but no evidence that it has undergone intensity bleaching—its moral force remains the same. By comparing ‘racist’ with other terms that have plausibly undergone meaning change, like ‘queer’, we argue that claims about the conceptual inflation of ‘racist’, as they are standardly understood, are overblown. (shrink)

Radical contextualists have observed that the content of what is said by the utterance of a sentence is shaped in far-reaching ways by the context of utterance. And they have argued that the ways in which the content of what is said is shaped by context cannot be explained by semantic theory. A striking number of the examples that radical contextualists use to support their view involve sentences containing color adjectives ("red", "green", etc.). In this paper, I show how the (...) most sophisticated analysis of color adjectives within the explanatory framework of compositional truth conditional semantics--recently developed by Kennedy and McNally (2010)--needs to be modified to handle the full range of contextual variation displayed by color adjectives. (shrink)

Recent work in philosophical logic has taken interesting and unexpected turns. It has seen not only a proliferation of logical systems, but new applications of a wide range of different formal theories to philosophical questions. As a result, philosophers have been forced to revisit the nature and foundation of core logical concepts, chief amongst which is the concept of logical consequence. This essay sets the contributions of the volume in context and identifies how they advance important debates within the philosophy (...) of logic. (shrink)

Confucian moral philosophy doesn't seem to provide a theory of excuses. I explore an explanatory hypothesis to explain how excuse conditions might be built into the Confucian doctrine of rectifying names. In the process, I address the issue of the motivation for the theory. The hypothesis is that the theory provides not only excuse conditions, but also exception and conflict resolution roles for an essentially positive morality rooted in the traditional code of 禮 li/ritual, transmitted from the ancient sage kings. (...) The relatively fixed content of this text-like moral code required aggressive interpretive leeway to cope with the problems endemic in rule deontological and etiquette-like normative schemes. (shrink)

Logical consequence is the relation that obtains between premises and conclusion(s) in a valid argument. Orthodoxy has it that valid arguments are necessarily truth-preserving, but this platitude only raises a number of further questions, such as: how does the truth of premises guarantee the truth of a conclusion, and what constraints does validity impose on rational belief? This volume presents thirteen essays by some of the most important scholars in the field of philosophical logic. The essays offer ground-breaking new insights (...) into the nature of logical consequence; the relation between logic and inference; how the semantics and pragmatics of natural language bear on logic; the relativity of logic; and the structural properties of the consequence relation. (shrink)

In this article, I map current conceptions of cosmopolitanism and sketch distinctions between the concept and humanism and multiculturalism. The differences mirror what I take to be a central motif of cosmopolitanism: the capacity to fuse reflective openness to the new with reflective loyalty to the known. This motif invites a reconsideration of the meaning of culture as well as of the relations between home and the world.

This paper explores how calculative cultures shape perceptions of models and practices of model use in the financial industry. A calculative culture comprises a specific set of practices and norms concerning data and model use in an organizational setting. Drawing on interviews with model users working in algorithmic securities trading, I argue that the introduction of complex machine-learning models changes the dynamics in calculative cultures, which leads to a displacement of human judgment in quantitative finance. In this paper, I distinguish (...) between three calculative cultures: an idealistic culture of undivided trust in models, a pragmatic culture of skepticism toward model accuracy, and a pragmatic idealist culture of early stage skepticism and implementation and production-phase idealism. Based on the empirical material, the analysis engages with examples of each of the three calculative cultures. The study contributes to the social studies of finance and science and technology studies more broadly by showing how perceptions of models shape and are shaped through model work in data-intensive, computerized finance. (shrink)

When it comes to cataloging, a poem is a far cry from a card index.1 The historical origins of storing and retrieving of literature can be traced back to the Library of Alexandria. Within the walls of this library, complex knowledge organizational techniques and practices arose in regards to classification and retrieval of text.2 Such practices had been at play in human culture before,3 but the level of literacy and the organizational qualities this literacy brought about reached a new height (...) in ancient Alexandria.4 It is normally assumed that the Alexandrian Library developed its organization skills for purely practical and intellectual purposes; examples follow below. This assumption... (shrink)

IntroductionIn the context of giving risk information for obtaining informed consent, it is not easy to comply with the ethical principle of “primum nihil nocere.” Carelessness, ignorance of nocebo effects and a misunderstood striving for legal certainty can lead doctors to comprehensive and brutal risk information. It is known that talking about risks and side effects can even trigger those and result in distress and nonadherence to medication or therapy.MethodsRecently, we have reported on significant clinically relevant effects of verbal and (...) non-verbal suggestions on maximal muscular arm strength in healthy volunteers and in patients at two time points before surgery. Maximal strength during arm abduction was measured by dynamometry of the deltoid muscle group. Suggestions from clinical everyday life were formulated as presumed negative and neutral versions.ResultsHere, we report on the effects of two versions of risk information in 45 patients. After sole mentioning risks of a puncture for the placement of a pain catheter, the maximal arm muscle strength was significantly reduced to 83% of baseline several days, and to 84% the evening before surgery. Strength was not significantly decreased and close to baseline at T1 and T2 when risks and benefits of a pain catheter were combined in one sentence. The difference between both versions was significant. With persistent normal distribution of values, the effect was due to uniform reactions of many patients, not to strong reactions of a few. High suggestibility and increase of anxiety with approaching surgery were identified as influencing factors for the neutralizing effect of modified wording.ConclusionWe not only suggest an alternative formulation for risk information to avoid nocebo effects but present an objective method to quantify and compare effects of different wordings. Thereby, we provide evidence that concurrently given positive aspects can neutralize negative effects during medical interview. (shrink)

Research on preference reversals has demonstrated a disproportionate influence of outcome probability on choices between monetary gambles. The aim was to investigate the hypothesis that this is a prominence effect originally demonstrated for riskless choice. Another aim was to test the structure compatibility hypothesis as an explanation of the effect. The hypothesis implies that probability should be the prominent attribute when compared with value attributes both in a choice and a preference rating procedure. In Experiment 1, two groups of undergraduates (...) were presented with medical treatments described by two value attributes (effectiveness and pain-relief). All participants performed both a matching task and made preference ratings. In the latter task, outcome probabilities were added to the descriptions of the medical treatments for one of the groups. In line with the hypothesis, this reduced the prominence effect on the preference ratings observed for effectiveness. In Experiment 2, a matching task was used to demonstrate that probability was considered more important by a group of participating undergraduates than the value attributes. Furthermore, in both choices and preference ratings the expected prominence effect was found for probability. (shrink)

In Argumentation Theory: A Pragma-Dialectical Perspective (2018), Professor van Eemeren suggests that it might be worthwhile for pragma-dialectics and informal logic to join forces, given that there is a “considerable amount of common ground” between the two. In this paper, we explore that common ground by considering both the ways logic is understood and incorporated in the pragma-dialectical model and the ways informal logic has developed since its inception in the 1970s. In the process of our investigation, we present a (...) view of the landscape of argumentation in which the subject matter of informal logic is situated relative to theories of argumentation. (shrink)

During the past decades, research collaboration between researchers from different disciplines has become more frequent. However, there is a need to look into the generic modalities and challenges. The article explores a series of potential obstructions to cross-disciplinary collaboration of methodological and epistemological nature. Furthermore, a number of contextual, inhibiting factors are outlined. As means of overcoming the obstacles, the importance of mutual knowledge, allocation of adequate time and conducive research management is emphasised. New teams may benefit from tutoring by (...) facilitators, who can help to make problem areas explicit and negotiate solutions. Owing to the training background of the author, most of the examples are drawn from the interface between biomedicine/natural science and applied medical anthropology. However, the issues raised basically apply to all sorts of cross-disciplinary research collaboration in various combinations. (shrink)

Since its inception in the late 1970s, behavioural economics has gone from being an outlier to a widely recognized yet still contested subset of the economic sciences. One of the basic arguments in behavioural economics is that a more realistic psychology ought to inform economic theories. While the history of behavioural economics is often portrayed and articulated as spanning no more than a few decades, the practice of utilizing ideas from psychology to rethink theories of economics is over a century (...) old. In the first three decades of the 20th century, several mostly American economists made efforts to refine fundamental economic assumptions by introducing ideas from psychology into economic thinking. In an echo of contemporary discussions in behavioural economics, the ambition of these psychology-keen economists was to strengthen the empirical accuracy of the fundamental assumptions of economic theory. In this article, we trace, examine, and discuss arguments for and against complementing economic theorizing with insights from psychology, as found in economic literature published between 1900 and 1930. The historical analysis sheds light on issues and challenges associated with the endeavour to improve one discipline’s theories by introducing ideas from another, and we argue that these are issues and challenges that behavioural economists continue to face today. (shrink)

This chapter contains sections titled: The Cognitive Background to the Aesthetic Problem Wine, Cognition and Philosophy The Phenomenology of “Projects” The Aesthetic Project Notes.