In lieu of an abstract, here is a brief excerpt of the content:An Invitation to Play:A Response to Patrick Schmidt's "What We Hear is Meaning Too:Deconstruction, Dialogue, and Music"Patrice Madura Ward-SteinmanThe aims of dialogue-as-deconstruction, as described by Patrick Schmidt, are concepts I have pondered as a result of a five-week sabbatical visit to Melbourne, Australia. My research focus there was improvisation, and early in my visit I attended two concerts at the premier jazz club, Bennett's Lane. There (...) I heard twelve improvisers in a variety of ensembles, all in celebration of the seventieth birthday of their mentor, Tony Gould, who also performed. Gould is cited by John Whiteoak and Aline Scott-Maxwell as an "outstanding player who has never ceased to develop as an improviser" and who "as a pianist, records prolifically across a wide musical spectrum."1While the music was jazz, it was freer and fresher than usual. There was striking interaction among the musicians, including facial expressions that reflected genuine ecstasy, and body movement that was naturally "in sync" with the music. I began to ask many questions, including: Is Australia's jazz different from that [End Page 82] in the U.S.? Is Tony Gould's influence as a teacher the reason for the difference? What accounts for the sensation of "freshness" in this music? And why is this musical experience so gripping, both aurally and visually? Serendipitously, I discovered answers through the opportunity to respond to Schmidt's aims of dialogue-of-deconstruction. I shall illustrate how those aims, namely decentralized power and conflict, multiplicity and meaning, and mis-listening may be met in the improvising music ensemble.Decentralized Power and ConflictThe lifeblood of "free jazz" and "free improvisation" ensembles is de-centralized musical interaction, which may be considered a metaphor for dialogue-as-deconstruction. Case in point: the Tony Gould Quartet was an improvising unit with each musician contributing to the musical whole. The air was electric with each musician poised in both the anticipation of what the other might play and in the moment of creation.A recent trend in studies of organizational behavior is on "self-directed" or "self-managed" groups, as identified by Keith R. Sawyer.2 David Borgo3 explains that the characteristics of these "self-organizing systems" or "SOSs" are threefold: they operate without centralized control, they "exhibit both complex and adaptive dynamics," and they are comprised of autonomous individuals who demonstrate a high degree of connectivity. Both authors assert that an ideal SOS is the free improvising ensemble, where musical ideas are allowed to emerge and adapt, and even musical "mistakes" may be manipulated into the context, thus creating new directions in dialogue.However, SOSs have some inherent problems. For example, they are "slow to emerge.... The more complex they are, the longer it may take them to warm up: hierarchical layers have to settle down... and individual(s) have to acquaint themselves with one another."4 Borgo explained that even advanced improvisers often need to pursue a musical idea for a long while for it to achieve coherence. Philip Alperson adds: "As the number of designing intelligences increases, the greater is the difficulty in coordinating all the parts; the twin dangers of cacophony and opacity lurk around the corner."5It seems that "interactional synchrony"6 can develop among musicians who have "good chemistry" after a warm-up period, but those with conflicting personalities, aesthetic dispositions, or musical styles may have a more difficult time of it. When members of the Tony Gould Quartet were asked how they are able to achieve musical unity, they explained that they have played together for many years, they "hang out and drink together" when not on the bandstand, and they trust each other. Even when one of the members feels "out of sorts," their improvisations are respected as authentic expressions. Others' differences are honored, [End Page 83] rather than felt in opposition to one's self.7 Ingrid Monson8 quotes several musicians who use the metaphor of marriage to describe the musical relationship during a peak performance; on the other hand, jealousy, competition, and even hostility on the bandstand are not uncommon and can destroy an ensemble. So, it appears... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Michael L. MarkPatrice Madura Ward-SteinmanI met Michael Mark at the first Philosophy of Music Education conference held at Indiana University in the summer of 1990. I was a doctoral student at IU then and had studied the writings of many of the conference presenters and so the experience of hearing and meeting them in person was a heady one, indeed. I will never forget those impressions of (...) Phil Alperson, Wayne Bowman, Allen Britton, David Elliott, Peter Kivy, Gerard Knieter, Thomas Regelski, Bennett Reimer, John Shepherd, Ann Stokes, Eleanor Stubley, Keith Swanwick, and many others.I was interested in meeting Michael after hearing his response to the presentation of one of my favorite IU professors of musicology, Austin Caswell. Caswell’s provocative paper, “How We Got into Canonicity and What it has Done to Us: An American Music Historian’s View of Music in Academia,” claimed that “the effect of canonicity on American musical life is destructive,” while Michael’s response was characterized by his style of writing that I came to recognize over the decades as distinct, calm, logical, methodical, and based in an extraordinarily wide and deep wealth of historical knowledge. While I greatly admired my rebellious and passionate professor’s views and temperament which were not unlike my own, I also appreciated hearing Michael’s measured and thoughtful response. Thus began my friendship with Michael, who, I learned, was not only a professor [End Page 92] and dean at Towson State University but also an avid big band woodwind doubler who showed interest in my doctoral research in the art of vocal jazz improvisation. That friendship lasted for almost twenty-eight years and we enjoyed memorable reunions at other conferences. For example, there was the ISPME conference held at UCLA where he invited me to dinner with his good friend and connoisseur of fine wines, Bennett Reimer, and the ISPME conference in Helsinki where, after I tripped and severely broke my ankle, requiring surgery, Michael, Estelle Jorgensen, Iris Yob, and two then-doctoral students (Kasia Bugaj and Leonard Tan) visited me in the Helsinki hospital.When I began teaching at the University of Southern California in 1995, it was fortuitous that Michael’s brother, Brian, lived in the Los Angeles area. His frequent visits allowed him to make several guest lectures to my graduate research methods classes, very welcome opportunities. After one of those lectures, I relayed the history of my family’s ballroom in the Chicago area that was open for business with big band music from 1929 until 1967. He asked if I had any artifacts from Madura’s Danceland, and when I mentioned my father’s stacks of dusty record books, newsletters, photos, and posters in our basement, he became very enthusiastic and told me that I had a “gold mine” of an archive with which to write a book about the place! As a trained quantitative researcher, I began to explore the record books to analyze trends in band pay over the Depression and World War II years.1 Over the next ten years, with help from Michael’s regular prodding and encouragement, I organized the large archive into the history of Madura’s Danceland.2 I owe this personally important accomplishment to Michael Mark.Michael invited me (in his endearing way which I could not refuse) to coauthor a music education textbook with him3 and our writing partnership went so smoothly that he invited me to co-author the 4th edition of his Contemporary Music Education.4 Although our writing styles and areas of expertise were very different, I learned much from his narrative approach which included illustrative scenarios, interviews, and the informal use of contractions, a style of writing that was not second nature for me. We wrote both books without meeting in person, except to celebrate the publication of the first at the Metropolitan Art Museum café in New York with our beloved spouses, Lois Mark and David Ward-Steinman.Dr. Michael L. Mark will long be remembered for his many books, chapters, and articles on the history of music education and his many symposium presentations; for his university teaching and administrative achievements; and for his... (shrink)

This paper is concerned with the craft and pedagogy of contemporary classical composition, starting with an examination of French pedagogy as I received it from Darius Milhaud and Nadia Boulanger in the late 1950s. I discuss their different points of view (briefly the global approach to composition vs. what might be termed the molecular), the composition process itself (what can and what cannot be taught), counterpoint, improvisation, writer's block, the current state of the art, our sister arts, and the changing (...) audience for serious music, along with the increasing importance of improvisation and world music in composition and its pedagogy. I also discuss how many of these elements were implemented in the model Comprehensive Musicianship curriculum at San Diego State University that I designed and directed from 1967 until 2003. (shrink)

In this paper, I evaluate recently defended mechanistic accounts of the unity of neuroscience from a metaphysical point of view. Considering the mechanistic framework in general , I argue that explanations of this kind are essentially reductive . The reductive character of mechanistic explanations provides a sufficiency criterion, according to which the mechanism underlying a certain phenomenon is sufficient for the latter. Thus, the concept of supervenience can be used in order to describe the relation between mechanisms and phenomena . (...) Against this background, I show that the mechanistic framework is subject to the causal exclusion problem and faces the classical metaphysical options when it comes to the relations obtaining between different levels of mechanisms . Finally, an attempt to improve the metaphysics of mechanisms is made and further difficulties are pointed out. (shrink)

In his paper "Analyticity", Boghossian defends the notion of analyticity against Quine's forceful criticism. Boghossian's main contention is that nonfactualism about analyticity of the kind advocated by Quine entails scepticism about meaning -- and this shows that Quine's argument can't be right. In other words, Boghossian presents us with a _reductio of Quine's thesis. In this paper, I present an argument to the effect that Boghossian's attempted _reductio fails. In the course of making this case, I will suggest that Quine's (...) argument, properly interpreted, has a more limited scope than is generally believed and that it leaves the door open to non-Platonistic account of meaning. (shrink)

The paper argues that a functional reduction of ordinary psychology to neuropsychology is possible by means of constructing fine-grained functional, mental sub-types that are coextensive with neuropsychological types. We establish this claim by means of considering as examples the cases of the disconnection syndrome and schizophrenia. We point out that the result is a conservative reduction, vindicating the scientific quality of the mental types of ordinary psychology by systematically linking them with neuroscience. That procedure of conservative reduction by means of (...) functional sub-types is in principle repeatable down to molecular neuroscience. (shrink)

Dans cet ouvrage, science et musique dialoguent selon trois grandes lignes. La premiere est representee par la recherche des causes physiologiques de l'harmonie musicale, conformement au titre de la conference que donne Helmholtz en 1857 (expose synthetique des idees qu'il reprendra dans sa tres fameuse Theorie physiologique de la musique), et par la presentation populaire pour les musiciens qu'en propose Enst Mach, des 1866. Avec Helmholtz, le son acquiert une place centrale pour la musique - le son tel qu'entendu par (...) l'oreille, avec toute sa richesse harmonique - et la dissonance, qui n'est plus un simple rate de la consonance, devient des lors la cle de toute theorie musicale. Mais qu'en est-il aujourd'hui de la theorie physiologique de Helmholtz? Son examen par Patrice Bailhache, a l'aune de l'acoustique actuelle, forme la seconde ligne de force du present livre. Et la troisieme, retenue par Antonia Soulez, est celle tracee par Carl Dalhaus, qui en 1970, voit dans la demarche de Helmholtz une mise en question inaugurale de la naturalite d'un systeme de sons. C'est la musique qui, alors, questionne la science: quelle pertinence ces considerations sur la dissonance et ses causes, conservent-elles face au regne du timbre et de la dissonance depuis la musique atonale et le dodecaphonisme? (shrink)

This paper aims at specifying the complex links which two major and polemically related 18th-century linguistic theories James Harris' universal grammar in Hermes (1751) and John Horne Tooke's system of etymology in the Diversions of Purley (1786, 1804) bear to empiricism. It describes both the ideologicalethical determining factors of the theories and the epistemological consequences dependent upon their respective philosophical orientation (Harris using classical Greek philosophy against empiricism, Tooke criticizing Locke's semantics along Hobbesian lines). The effects within the linguistic theories (...) are examined through a comparison of the theories of determination which follow from divergent theses concerning abstraction. The analysis proposed in this paper exemplifies once more the historical question of the exact location of the compatibility/incompatibility between empiricist and non-empiricist linguistic theories. (shrink)

Les travaux de Patrice Bret occupent une place centrale en histoire des sciences et en histoire des techniques. Ce livre entend les mettre à l'honneur, qu'il s'agisse de l'histoire des savoirs académiques, du régime techno-politique du XVIIIe siècle, des interactions entre savants et praticiens à l'heure de la chimie lavoisienne, des circulations culturelles et des traductions ou encore de la place des femmes de sciences. Les contributions réunies dans ce volume illustrent, par leur diversité, l'influence de Patrice Bret (...) dans la communauté historienne. Nous proposons ainsi de mettre en perspective son oeuvre en la replaçant dans un contexte intellectuel, scientifique et épistémologique. Un constat s'impose : loin de distinguer entre les approches conceptuelles, érudites et méthodologiques, Patrice Bret joue un rôle de premier plan dans un milieu scientifique qui a choisi de conjuguer le renouvellement des questionnements avec la production d'instruments de recherche et les interrogations de repérage, de dénomination, d'identification, seules à même de contrer les récits téléologiques qui ont longtemps prévalu dans ce domaine. Si l'histoire des sciences et l'histoire des techniques sont de nos jours à l'avant-poste du renouvellement de la science historique, c'est aussi grâce au rôle de passeur de Patrice Bret. (shrink)

This article is about the problem of the justification of basic logical laws. Starting from an exposition of Lewis Carroll’s regress, I show the inadequacy of dominant current approaches in the epistemology of logic: they are incapable of responding satisfyingly to the central problem raised by the regress. The realisation of this failure motivates the need to adopt a different perspective on our conception of logical laws. I suggest, in the last portion of the article, that we should follow a (...) suggestion made by Paul Boghossian and look carefully at the primitivist conception of the foundations of logic, such as it is put forward by Aristotle. (shrink)

Despite the important role of the consistency concept in various theoretical frameworks of memory research and its influence on practical investigations it remains unclear as to whether consistency has been firmly grounded as a explanatory factor. Consistency does not determine either a cognitive load or the development of automaticity. However, it does explain the nature of empirical facts that are subsumed by these terms. Consistency is not a psychological factor involved in many important and highly related topics of consciousness research (...) including, implicit learning, and implicit memory. Rather it is the way human beings relate their various mental experiences. (shrink)

On savait que c’était l’entité la plus complexe de l’univers connu. Mais le feu d’artifice de découvertes récentes dépasse l’entendement et fait exploser tous les schémas. Votre cerveau est (beaucoup) plus fabuleux que vous le croyez. Il est : totalement élastique, même âgé, handicapé, voire amputé de plusieurs lobes, le système nerveux central peut se reconstituer et repartir à l’assaut des connaissances et de l’action sur le monde ; totalement social, un cerveau n’existe jamais seul, mais toujours en résonance avec (...) d’autres. Mieux : nous sommes neuronalement constitués pour entrer en empathie avec autrui et aller à son secours. Ce livre aborde ces questions passionnantes avec cinq spécialistes. (shrink)

Patrice Bergeron « Nous avons besoin de reconnaître la ville à partir d’un regard contemplatif, c’est-à-dire un regard de foi qui découvre ce Dieu qui habite dans ses maisons, dans ses rues, sur ses places » (François, Exhortation apostolique Evangelii Gaudium, 24 novembre 2013, no 71). Il y a une bonne part d’audace dans cette interpellation, car la « présence de Dieu » en ville ne saute pas nécessairement aux yeux, plus encore lorsqu’on y cherche le Dieu Sauveur. Néanmoins, (...) que voit-on de Dieu dans ces villes aux mille visages, quand on ose le chercher? Qu’est-ce qui caractérise une telle démarche de discernement spirituel? Autrement dit, que voit-on et comment voit-on? Telles sont les questions que cet article explore théologiquement à partir d’une série de témoignages écrits par des chrétiennes et des chrétiens formés aux « Exercices spirituels ignatiens » qui, au coeur de leur ville de résidence sur différents continents, ont été invités à contempler en marchant. L’analyse de ces témoignages permet non seulement d’éclairer le croire chrétien en acte et le travail du regard interprétant au coeur de l’espace urbain, elle montre aussi comment un tel regard parvient à discerner des traces de la grâce au coeur de l’ambivalence urbaine. (shrink)

An adequate analysis of experiences and situations specific to women, especially mothering, requires consideration of women's difference. A focus on women's difference, however, jeopardizes feminism's claims of women's equal individualist subjectivity, and risks recuperating the inequality and oppression of women, especially the view that all women should be mothers, want to be mothers, and are most happy being mothers. This book considers how thinkers including Simone de Beauvoir, Julia Kristeva, Nancy Choderow and Adrienne Rich struggle to negotiate this dilemma of (...) difference in analyzing mothering, encompassing the paradoxes concerning embodiment, gender and representation they encounter. Patrice Di Quinzio shows that mothering has been and will continue to be an intractable problem for feminist theory itself, and suggests the political usefulness of an explicitly paradoxical politics of mothering. (shrink)

There are two approaches to logic, semantic and axiomatic. In 1910's, when C.I. Lewis wrote his first papers on modal logic, he adopted the axiomatic approach, the sole one apparently available. The situation remained identical during about forty years, until Kanger, Kripke, and Hintikka discovered the so-called possible worlds semantics. A new flourishing “paradigmatic” period began, and it became possible to define soundness and completeness in modal logic. Unfortunately , however, this period did not go on for more than twenty (...) years. “Strange” systems appeared, which were impossible to be defined semantically and so soundness and completeness were lost again. (shrink)

Patrice Bergeron,Fabrice Blée,Marc Dumas,Raymond Lemieux,Jean Richard,Gérard Siegwalt.

(No abstract is available for this citation).

Critics often take conservationists to task for delivering a constant barrage of bad news without offering a compelling vision of the future. Could recent advances in synthetic biology—an optimistic, forward‐looking field with a can‐do attitude—let conservationists develop a new vision and generate some better news? Synthetic biology and related gene‐editing applications could be used to address threats to species. Genetic interventions might also be used in plants to better protect biodiversity in U.S. rangelands and forests. One possibility has stood out (...) in its ability to capture media attention and the public imagination—recreating extinct species. And perhaps a de‐extinction story could counter the seemingly relentless negativity in biodiversity talk. De‐extinction proponent Stewart Brand writes that resurrecting species could shift the “conservation story … from negative to positive, from constant whining and guilt‐tripping to high fives and new excitement.” So, why do many people in conservation oppose the de‐extinction narrative? This essay is an inquiry into whether there are intrinsic social reactions to these types of conservation solutions that might offset their potential benefits. If genetic tools are to be applied to address conservation issues in a realistic and responsible way, their broader social‐cultural implications deserve far more attention than they have so far received. (shrink)

The concept of ‘problem’ has been recently promoted by the official academic institutions and put at the centre of a new field of research, self-styled ‘transdisciplinary studies’, in order to provide a foundation to a resolutely transdisciplinary approach to research and thought in general. The paper notes that the same move (i.e. connecting a problem-centred approach to thought with transdisciplinary method) can be found in Deleuze’s philosophy, which provides us with what the technocratic image of thought advocated by transdisciplinary studies (...) ultimately cannot provide: a positive concept of problems where those are not negative moments but originary and active matrices of thought. It then argues that Deleuze owes this concept to the French epistemological tradition, and more specifically to Bachelard, where it is nothing other than the concept of structure. It ends by explicating what particular version of structuralism Deleuze was thus led to construct in order to account for the role of problems in a radically transdisciplinary account of thought: it is the fact that all structures are multi-structured that grounds the essentially transdisciplinary nature of thought. The fact that we could think differently is precisely what makes us think. (shrink)

Lorsque le couple se divise, comment l’enfant issu de celui-ci est-il impliqué dans les processus conflictuels? Nous montrerons la fonction de « porte-dépouille » que l’enfant est appelé à prendre en charge, selon la structure inconsciente de l’organisation de chaque type « d’objetcouple ».

Recognition is not only a response to social pathologies. It is also an unstable and often ambivalent relationship that has its own pathologies. Owing to the intertwining between recognition and power, certain forms of recognition turn out to be forms of alienation in or from the world. Such pathologies affect inter-individual recognition as well as the recognition between individuals and the socio-political institutions. The article proposes a joint reading of Hegel’s Phenomenology of Spirit and Philosophy of Right, which provide norms (...) for identifying and dealing with these pathologies. The norm for inter-individual recognition is set out in the Phenomenology of Spirit, the norm for state/citizen recognition in the Philosophy of Right. The analysis envisages two other aspects of recognition: the interference of the ‘I–Me’ with the ‘I–You’ relationship and the incorporation of the ‘I–We’ into the ‘We–Us' dimension of recognition. As regards the interpretation of Hegel’s practical philosophy, the article analyses the link between Hegel’s concept of recognition and his theory of action. In this view, the highest form of recognition has more to do with reconciliation – reconciliation between human beings, reconciliation with the ‘finitude of action’ – than with the problematic of individual and collective identity. (shrink)

On an internalist account of logical inference, we are warranted in drawing conclusions from accepted premises on the basis of our knowledge of logical laws. Lewis Carroll's regress challenges internalism by purporting to show that this kind of warrant cannot ground the move from premises to conclusion. Carroll's regress vindicates a repudiation of internalism and leads to the espousal of a standpoint that regards our inferential practice as not being grounded on our knowledge of logical laws. Such a standpoint can (...) take two forms. One can adopt either a broadly externalist model of inference or a sceptical stance. I will attempt, in what follows, to defend a version of internalism which is not affected by the regress. The main strategy will be to show that externalism and scepticism are not satisfying standpoints to adopt with regard to our inferential practice, and then to suggest an internalist alternative. (shrink)

Résumé À travers le cas clinique d’une adolescente obèse, l’article postule que le corps « obèse » peut être l’espace d’expression de la conflictualité inter et transgénérationnelle. Le symptôme de l’obésité viendrait alors préserver l’homéostasie familiale. Cet écrit met le projecteur sur la dimension contenante de ce corps « encombrant », signifiant formel d’une enveloppe psychique porteuse de traces douloureuses appartenant au mémorial familial. Il expose ainsi une explication au phénomène de résistance à l’amaigrissement rencontré parfois dans la clinique de (...) l’obésité. (shrink)

La vie et l'art? Quel lien d'authenticité peut-on dresser de l'un à l'autre? Où cesse la représentation et où commence l'incarnation? Quand le vécu prend-il chair? C'est à ces questions que répond le philosophe Patrice Guillamaud dans un traité d'esthétique fondamentale où le cinéma apparaît non pas comme la synthèse des arts, mais l'art en son essence. Ce postulat repose sur un double paradoxe. A la fois affect et relativisation, la vie intérieure est aspiration à l'absolu et renoncement à (...) l'absolu, sortie de soi qui reste paradoxalement en dedans de soi. Ainsi, cette vie, cette extase interne procède par renonciation. Or, l'art qui incarne par excellence la vie renonciatrice, c'est le cinéma. Dans la mesure où il se veut art de l'espace, mais englobé et dynamisé par le temps, le cinéma est la réalité charnelle de cette extase interne, en tant qu'absolu de la renonciation. Passant de Renoir à Dreyer, de Mizoguchi à Godard, Patrice Guillaumaud montre pourquoi et comment se tient là, universelle, la vérité des grandes oeuvres cinématographiques. Une relecture spéculative du VIIe art qui passe également en revue les grandes interrogations métaphysiques. (shrink)

L’épigramme funéraire Anth. Pal. VII, 167, pour la jeune Polyxenè, est attribuée soit à Dioscoride, soit à un certain Hekataios de Thasos, inconnu par ailleurs. La défunte apparaît sur une inscription honorifique de l’agora de Thasos (C. Dunant, J. Pouillou x, Recherches sur Thasos II, 237) que l’on peut placer à l’époque d’Auguste environ. Le rapprochement des deux documents permet d’affirmer que le poète est bien Hekataios : il pourrait faire partie des auteurs réunis dans la Couronne de Philippe.

Le processus industriel, qui introduit dans le monde naturel des choses d'un genre nouveau, les exemplaires, parfaitement identiques et interchangeables, est le signe et l'instrument d'une reconfiguration radicale de la nature, qui tend à la soumettre au principe du Même. Ainsi, l'évolution naturelle, comme source de nouveauté imprévisible, se trouve progressivement remplacée par l'innovation comme mode de devenir contrôlé.