Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The term environmental sound art is generally applied to the work of sound artists who incorporate processes in which the artist actively engages with the environment. While the field of environmental sound art is diverse and includes a variety of approaches, the art form diverges from traditional contemporary music by the conscious and strategic integration (...) of environmental impulses and natural processes. This book presents a current perspective on the environmental sound art movement through a collection of personal writings by important environmental sound artists. Dismayed by the limitations and gradual breakdown of contemporary compositional strategies, environmental sound artists have sought alternate venues, genres, technologies, and delivery methods for their creative expression. Environmental sound art is especially relevant because it addresses political, social, economic, scientific, and aesthetic issues. As a result, it has attracted the participation of artists internationally. Awareness and concern for the environment has connected and unified artists across the globe and has achieved a solidarity and clarity of purpose that is singularly unique and optimistic. The environmental sound art movement is borderless and thriving. (shrink)

Since James defined emotion as consciousness of bodily reactions and Cannon and others detailed the nature of these reactions, there has been an increasing tendency among behaviorists to equate emotions with visceral reactions and to neglect some of the genetic and adaptive aspects of emotion which had been discussed by Darwin.

Case-based, multidisciplinary seminars provided a vehicle for clinicians, philosophers and students to debate current problems in medical ethics in a manner which ensured maximum learning and interest for all participants. Prior training in philosophical medical ethics was an essential prerequisite, giving students the knowledge and skills to take part in the discussions at an appropriate level of sophistication.

Tradition usually assigns greater importance to the so-called laws of thought than to other logical principles. Since these laws could apparently not be deduced from the other principles without circularity and all deductions appeared to make use of them, their priority was considered well established. Generally, it was held that the laws of thought have no proof and need none, that as universal constitutive or transcendental principles they are self-evident.

In Aeneid 7. 1–285 Vergil colours his picture of early Latium with a religious atmosphere which can be fully appreciated only if these verses are read with an attentive awareness of Roman religious beliefs and practices. A detailed exegesis of all 285 verses would hardly be possible here, and I will limit myself to two major points, the account of Latinus' ancestry and the description of the royal palace , both because these passages are interesting in themselves for the way (...) they apparently contradict each other, and because they are good illustrations of how Vergil draws on the data of Roman religion, both its folklore and its cult, to fix in his reader's mind certain definite impressions about Latinus and the Latins. (shrink)

This is a discussion of the claim by certain recent philosophers to have established universal human abilities and disabilities on "logical" grounds, or as a priori necessary. These traits would be independent of empirical conditions, and not of the sort which could be disproved by psychology which, accordingly, would share its field with the a priori philosopher. The author agues, using a series of examples, that these supposed traits do, or could, vary with empirical conditions, and that it is unlikely (...) that in this psychological area there is any good alternative to inductive methods. (shrink)

What is disappointing of course is not the dispersion of psychology into so many diverse subjects, but their apparent lack of relation to a central core of laws and theories. The topics of psychology, such as sensation, perception, cognition and emotion, which are treated in the first section of the present book, do not appear to constitute a general base for the branches of psychology, for clinical psychology, nor for the so-called borderland subjects. The branch--Animal and Comparative Psychology--does not carry (...) over from general psychology a basic theory of learning, which it then adapts or applies to its own special field. On the contrary, contemporary theory of learning, or rather theories, have been largely evolved within this branch. Similarly, Psychometrics, Child Psychology, and Applied and Social Psychology have, to a great extent, developed their own principles and methods. (shrink)

The topic of consent in paediatrics is made more difficult, and at the same time more interesting, by the complexity of the issues involved and the consequent diversity of viewpoints. In a teaching session for senior medical students on consent in paediatrics it proved necessary to reinstate previous learning from a range of disciplines. Philosophical medical ethics, developmental psychology, communication skills and the appropriate legal definitions all contributed to a proper understanding of the cases presented. The two most important additional (...) components appeared to be a) a basic knowledge of cognitive development and how to apply it, and b) an awareness of the need to balance an individual child's rights or best interests, with those of the family unit, as well as the wider society. (shrink)

This paper presents findings from a longitudinal study of patient refusals (as reported by graduating medical students) to take part in the teaching function of public hospitals. Results from a smaller study of non-patients' attitudes are also reported. Findings are discussed in terms of patients' rights, issues of personal privacy, medical education, and the public good.

To whom is Aeschinus speaking? Editors in general follow Eugraphius and have Aeschinus address his lines to the psaltria. According to this interpretation, it would be the psaltria who anxiously looks back ; since Sannio is the only person on stage whom the girl would have reason to fear, the leno would have to be standing behind her, and hence must have followed the psaltria on to the stage.