The conjunction fallacy occurs whenever probability compounds are thought of as more likely than its component probabilities alone. In the experiment we present, subjects chose between simple and compound lotteries after some practice. Depending on the condition, they were given more or less information about the nature of probability compounds. The conjunction fallacy was surprisingly robust. There was, however, a puzzling dissociation between verbal and behavioral learning: verbal responses were sensitive, but actual choices entirely insensitive, to the (...) amount of verbal instructions being provided. This might reflect a dichotomy between implicit and explicit learning. Caution must be exercised in generalizing results from what people say to what people do. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

Excellence in the care of hospital patients, particularly those in an intensive care unit, reflects esprit de corps among the care team. Esprit de corps depends on a delicate balance; each clinician must preserve a sense of personal responsibility for “my” patient and yet participate in the collaborative work essential to the care of “our” patient. A harmful imbalance occurs when a physician demands total control of the decision-making process, especially concerning end-of-life treatment options. Although emotional factors may push a (...) physician to claim decision-making exclusivity, compounded by a legal framework that overemphasizes individual responsibility, esprit de corps can be preserved through timely communication among clinicians and a recognition that optimal care for “my” patient requires effective team practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Christian Ethics at the Boundary: Feminism and Theologies of Public Life by Karen V. GuthJulie Hanlon RubioChristian Ethics at the Boundary: Feminism and Theologies of Public Life Karen V. Guth MINNEAPOLIS: FORTRESS PRESS, 2015. 231 pp. $39.00In her promising first book, Karen Guth does "ethics at the boundary," reading the central figures of Martin Luther King Jr., John Howard Yoder, and Reinhold Niebuhr with an uncommon generosity that (...) allows for synthesis and opens up new potential for collective action. She challenges the Christian realists, witness theologians, and liberationists in contemporary Christian ethics to see overlap in their theologies, hear the questions that others bring to their work, and join together in bringing theology to the public square.This moment in politics and political theology seems to call for the kind of argument that Guth wants to make. Polarization in the academy mirrors that of the church and society, and potential for moving beyond it seems more elusive than ever.The key contribution of the book is shedding light on what is often overlooked in three key figures who continue to influence Christian ethics. At the "boundaries" or edges of their work, Guth retrieves Niebuhr's attention to ecclesiology as an essential part of his realist ethic; Yoder's willingness to learn from liberalism and translate theology for a diverse audience; and King's liberation theology of the streets, which enacted transcendence of the witness/realist divide.Equally significant is attention to overlooked feminist themes in all three thinkers. Guth argues that Yoder has the most developed feminist theology (especially evident in unpublished memos, 138–40), whereas King and Niebuhr, though often rightly criticized by feminist thinkers, have in their writings and sermons significant overlap with central feminist themes. By reading King and Niebuhr alongside feminist thinkers, we can begin to see King's "'feminist' and 'womanist' politics of love," which inspires a view of "churches as potential sites of divine creation" (183), and Niebuhr's call for the church to "confess its complicity with the world" for its failures, which coheres with feminist insistence that the church must "confess its complicity in women's [End Page 196] oppression" (111). In retrieving feminist themes, Guth offers a corrective to political theology's frequent lack of attention to sexism.Guth is careful to note that, in their personal lives, all three theologians failed to live up to their professed concern for gender justice. Despite this qualification, it is particularly difficult to read of Yoder's professed feminism in light of the overwhelming allegations of sexual abuse against him by over one hundred women. His perverse theological justification of the abuse and the ongoing tension among Christian ethicists about how to respond compound the problem. In 2017, SCE members held a prayer service to honor the testimony of Yoder's victims and to address the SCE's complicity in the harm done by him. Guth's response is that it is now even more important to correct misperceptions and uphold feminist themes in Yoder's work. However, it seems all but impossible to redeem his thought in this area. Yoder justified his abuse by melding together themes from scripture and liberalism. In light of what we know now, his justification of "revolutionary subordination" (even in the 1994 version of Politics of Jesus) is even more troubling. In these times, silence about Yoder may be the more appropriate way to honor his victims.Still, Guth's emphasis on intellectual charity, her articulation of the desire for beloved community as essential to the ethicist's task, and her willingness to risk standing at the boundary in order to illuminate the common concerns of those who see themselves as opponents are great gifts to Christian ethics. By complicating the reader's location of Yoder, Niebhur, and King, Guth makes a strong case that ethicists can form a better "community of argument" (190). In a course on social ethics, or in public or political theology, reading Guth would provide a way for students to synthesize the contributions of key thinkers, grapple with both personal and theoretical limitations, and think creatively about how to do their work with generosity and humility.Julie... (shrink)

Because corporate social responsibility (CSR) is potentially beneficial for companies, it is important to understand the factors that improve a company’s CSR practice. Scholars hypothesize that facilitating learning organization characteristics, which are divided in characteristics at the organizational and the operational level, may improve CSR implementation. These characteristics stimulate companies and their members to be critical, learn from the past, and embrace change, but there is limited empirical evidence of this approach. This study addresses this gap by surveying 280 (...) CSR professionals and performing bootstrap mediation analyses to test multiple hypotheses. Learning organization characteristics at the organizational level, play a key role in supporting CSR implementation: leadership for learning, system connection, and group learning show a direct relationship with CSR implementation. It is striking that the role of the learning organization characteristics at the operational level is only indirect; the organizational characteristics mediate their relationship with CSR implementation. (shrink)

This paper argues that ‘dirty hands’ (DH) scenarios, where an agent is forced to do wrong in order to do right, are conceptually coherent. The charge of incoherence is a widespread and common criticism made by deontologists and consequentialists alike. They argue that DH theorists erroneously assume the existence of real moral dilemmas and then compound this error by claiming that it is possible to engage in justified moral wrongdoing. However, such critics argue that there are only _prima facie_ moral (...) dilemmas and hence it is not only irrational and obtuse to argue for DH scenarios, but also undermines our search for sound moral judgments in very difficult situations. Given the gravity of these charges, surprisingly little has been written in defence of DH as a coherent and necessary part of our moral vocabulary. If there can be no successful defence of the possibility of DH, then all talk of such scenarios become futile. This paper responds to two influential and what initially appear to be strongly plausible arguments used by critics of DH. I call these the ‘Arguments from Deontic Logic’ and the ‘All-Things-Considered Argument’. I present three responses which seek to raise serious doubts about their efficacy. I then support the possibility of DH by exploring what we can learn about our moral reality from the moral emotion of ‘tragic remorse’. This approach endorses the role of emotions in determining moral knowledge. It also rejects the view that ethical theories ought to dismiss DH experiences as incoherent in favour of questionable theoretical a priori assumptions, which seek a reductionist account of our moral reality. (shrink)

Contrary to the outstanding simplistic view of the taste system, learning studies show a more complex picture. Behavioral data using conditioned taste preference and aversion tasks support the idea that mixtures involve complex interactions between individual taste cues. Evidence from taste conditioned blocking, taste perceptual learning, and taste learned preferences is considered to support such a view. Greater support for research in taste learning and memory is required for a complete understanding of taste recognition.

What I suggest we can see in this brief overview of the literature is an extensive interpenetration on both sides of these debates between scientific, political, and social values. Important shifts in political and social values were of course occurring over the same period, some of them in parallel with, and perhaps even contributing to, these transitions I have been speaking of in evolutionary discourse. The developments that I think of as at least suggestive of possible parallels include the progressive (...) encroachment of public values into the private domain of post-World War II American life, the cold war, the rise of consumerism, and the flowering of what Christopher Lasch calls a “narcissistic individualism.”35 In popular language, the 1960s gave birth to the “me” generation. Perhaps the most tantalizing analogue is suggested by Barbara Ehrenreich's argument for the emergence of a new meaning of masculinity — an ideal of masculinity measured not by commitment, responsibility, or success as family provider, but precisely by the strength of a man's autonomy in the private sphere, his resistance to the demands of a hampering female.36 It is tempting to speculate about possible connections between changes in scientific discourse and developments in the social and political spheres, but such connections, however suggestive, would clearly have to be demonstrated.For now, however, I want to focus on another kind of change —a transformation not so much in the social or political sphere as in the scientific sphere. I make this turn, or return, in support of a more complex account of scientific change that incorporates reverberations within the scientific communty along with social and political changes.In the 1960s, all of biology was undergoing a major transformation in direct response to the dramatic successes of molecular biology. These successes seemed to completely vindicate the values on which the molecular revolution was premised — namely, simplicity and mechanism. Following the victory of Watson and Crick, and of others after them, the fever of that endeavor swept through biology leaving in its wake a new standard of science, and of scientific discourse — one predicated on clarity, simplicity, and analyzability; on the definition of legitimate questions as those capable of clear and unambiguous answers. Every biological discipline felt it — even evolutionary biology, which in some respects was at the furthest pole. Perhaps precisely because it seemed conceptually so remote, evolutionary biology may have felt it most of all. Lewontin inadvertently provides us with some direct support for this view. Indeed, he begins his introduction to Population Biology and Evolution with the following remarks: The twenty years since World War II have seen a vindication in biology of our faith in the Cartesian method as a way of doing science. Some of the most fundamental and interesting problems of biology have been solved or are very nearly solved by an analytic technique that is now loosely called “molecular biology.” But it is not specifically the “molecular” aspect of biology of the last twenty years that has led to its success. It is, rather, the analytic aspect, the belief that by breaking systems down into their component parts, by simplifying them or using simpler organisms, one can learn about more complex systems. As it happens, the problems that were attacked and are being attacked by this method lead to answers in terms of molecules and cell organelles.... There is a host of problems in biology, however, that has been much neglected in these twenty exciting years, because the answers to them cannot be meaningfully framed in molecular and cellular terms.37Lewontin is referring, of course, to problems in evolution. The remainder of his remarks is devoted to an argument for the applicability of the method, if not the content, of molecular biology to these problems. He writes, “It is not the case that molecular biology is Cartesian and analytic while population biology is holistic. Population biology is properly analytic and operates, within the framework of its own problems, by the process of simplification, analysis, and resynthesis.”38 With these remarks, he leads into the criticism of the “holists” who have “held up progress.”This new ethic of simplicity, clarity, and mechanism — embodying the very virtues lauded by Williams — was explicitly carried into evolutionary biology in the name of scientific progress. As it happened, the values implied also fit conveniently well with other values — each set of values providing crucial support for the other.However substantive the scientific gains may have been in some respects, the net effect of this ethic has also been a systematic “perceptual bias” — a bias with profound practical consequences for the entire program of methodological individualism in evolutionary biology, if not elsewhere as well. It may well be that the whole is equivalent to the reconstituted aggregate of its parts, if, in the process of aggregation or summation, all possible interactions among the parts are included. But if certain kinds of interactions are systematically excluded, our confidence in that program necessarily founders. My claim here is that such systematic exclusion does occur, and that it occurs on a number of different levels. To briefly review the interlocking kinds of “bias” that I see occurring in practice, I suggest the following schematic listing:On the most general level: The ethic of simplicity — the privileging of certain values, even certain methodologies, as having an a priori superior claim to scientific credibility.Only slightly less general, and crucially related, is the equation of “scientific” with “tractible”: Given the techniques of analysis available, the equation of science with what we can do inevitably leads to a systematic technical bias favoring simplicity. That is, because we don't know how to model complex dynamics, nonlinear interactions are systematically biased against because of the limitations of our technical know-how. The consequences of this equation of the scientific with the tractible are greatly compounded by the additional equation between what we can do and what is — that is, by our temptation to confuse tractibility with reality.Finally, and also closely related, a further kind of elision occurs even within the confines of tractibility. This kind of elision — taking the form almost of inferring tractibility from one's prior assumptions of what is real — is exemplified by the history of a mathematical ecology of mutualism. Even when mutualism can be introduced into the same technical machinery, it is still not pursued. The basic assumption is that competition is what is real, not because it is easier to model, but because it is what we expect. When the actual difficulties of modeling competition are then in turn suppressed, as in the Robert May story, what we have, given the temptation to equate the tractible with the real, is the possibility of a truly self-fulfilling prophecy. (shrink)

Epistemic limitations concerning prediction and explanation of the behaviour of robots that learn from experience are selectively examined by reference to machine learning methods and computational theories of supervised inductive learning. Moral responsibility and liability ascription problems concerning damages caused by learning robot actions are discussed in the light of these epistemic limitations. In shaping responsibility ascription policies one has to take into account the fact that robots and softbots - by combining learning with autonomy, pro-activity, (...) reasoning, and planning - can enter cognitive interactions that human beings have not experienced with any other non-human system. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hazel E. Barnes FLAUBERT AND SARTRE ON MADNESS IN KING LEAR T'oward the end of the second volume of The Family Idiot (L'Idiot de la famille), in a section called "Exercises and Reading," Sartre discusses Flaubert's reading of Shakespeare.1 In the context Sartre describes how Flaubert spent his time during one of the rare periods when he was not even attempting to write anything; more than two years elapsed (...) between the completion of the first Sentimental Education in January 1845 and die beginning of his collaboration widi Maxime Du Camp on La Bretagne. Along with doing desultory background reading for "an oriental tale," and analyzing the plays ofVoltaire, Flaubert claimed to be studying the Greek and Roman authors and a selected few of the later "great immortals." Sartre shows that Flaubert's way of reading them was entirely different from the critical analysis which he directed on the work of his contemporaries. Essentially it was a series of"rereadings," and its purpose was not to gain knowledge or even a fuller understanding of the text. In a letter to Mlle de Chantepie, Flaubert counsels her to take one of the great writers and "study him in depth," reading from beginning to end and then starting over again: "But do not read, as children read, to amuse yourself, nor as the ambitious read, to instruct yourself. No, read so as to live. Create in your soul an intellectual atmosphere which will be compounded from the emanation of all the great minds."2 How can Flaubert both counsel his correspondent to study in depdi and not to seek instruction? The kind ofstudy he has in mind, Sartre claims, is comparable to the way in which an amateur pianist might "study" Chopin, where die aim is not to understand analytically but to perfect a particular interpretation and to evoke a certain aesdietic reaction. Flaubert resists instruction because new knowledge risks forcing change. What he wants is 211 2 1 2 Philosophy and Literature to rediscover the same eternal truths and emotions.3 It is also to find inspiration for his own dreams, an oneiric reading. In this connection Sartre makes two important points. First, in striving to cultivate for the soul "an intellectual atmosphere... compounded from the emanation of all the great minds," the artist is adding so many strings to his lyre — the laugh of Rabelais, the cosmic passions of Shakespeare, the skepticism of Montaigne. This is whyJules at the end of die first Sentimental Education plans to study die great writers, beginning with Homer — not to learn dieir technique but to enlarge the artist's sensibility. Sartre's second point is made apropos of Flaubert's rereading of Shakespeare. Flaubert fluctuates between two responses. Sometimes he is depressed at the thought of his own lack of genius in comparison with Shakespeare. "That good man will drive me mad.... All odiers seem to me children beside him."* At odier times he experiences what Sartre calls a "glorifying identification." It is as though in imagination he becomes Shakespeare. In part this is because, as he writes in this same letter, we artists "breathe in our existence by means of die sentence." Sartre notes that for Flaubert the existence in question is a literary reality, not that of die everyday world; we may breathe it in either dirough writing or through reading. At this particular moment in his life, Sartre argues, Flaubert's program of study was in bad faith. He allowed die imaginary identification to suffice. Sartre goes so far as to say, "He reads in order not to write; in diis masturbatory substitute for the act, he makes himself an aumor all at once, under anodier name, in order not to work at becoming the writer of genius he wants to be." This comment makes sense if we recall Flaubert's situation in 1845-47. After the nervous crisis at Pont-L'Evêque he knew that either he would be a writer or he would remain a feeble invalid, an object of pity, the "family idiot." "There he is, dien, paralyzed by two opposing forces: hope and die fear of being disappointed " (p. 2021). No wonder he... (shrink)

Perceptual experiences are not immediately responsive to reasons. You see a stick submerged in a glass of water as bent no matter how much you know about light refraction. Due to this isolation from reasons, perception is traditionally considered outside the scope of epistemic evaluability as justified or unjustified. Is perception really as independent from reasons as visual illusions make it out to be? I argue no, drawing on psychological evidence from perceptual learning. The flexibility of perceptual learning (...) is a way of responding to new epistemic reasons. The resulting perceptual experiences are epistemically evaluable as justified or unjustified. (shrink)

Despite the great promise that service learning has shown and the attention paid to it by educators, it is not commonly taken up in the courses or discussions of ethicists. But service learning should concern ethicists (especially applied ethicists) if it should concern anyone: ethicists frequently devote their courses and studies to questions of social responsibility and service learning provides a unique opportunity for students and teachers to fulfill that responsibility. After rehearsing several arguments for the basis (...) of social responsibility, the author relates these arguments to the duties of ethics teachers and ethics students and discusses the practical question of how to incorporate service learning into ethics classes. After recounting in detail his own attempt to do so, the author analyses a student survey from the course and summarizes the benefits and problems with his course’s implementation of service learning. Though students frequently found their service opportunity emotionally challenging, the author argues that the results of the class are encouraging. (shrink)

Upshot: The commentaries raise a plethora of issues, extending the article’s problematic in insightful ways. In this response, we chose to focus on two interesting views on the “powerful idea” in the constructionist sense, on systems versus causal-rule thinking and on the affective aspect of collaborative learning.

Purpose – Tabletop online role-playing games enable active learning appropriate for different ages and learner capabilities. They have also been implemented in computer and engineering ethics courses. The paper aims to discuss these issues. Design/methodology/approach – This paper presents the experience of implementing role-playing in several courses embedded in Web 2.0 environment, with an intention to confront complex and sometimes mutually conflicting concepts, and integrate them into a whole. Findings – Typical examples introducing two basic scenarios representing individual and (...) collaborative learning scripts are presented together with the detailed analysis how the games were performed, the effort to participate in, and to maintain them. Particular attention is paid to student feedback. Originality/value – The paper concludes with the basic findings of the effects of role-playing in current learning computer ethics and social responsibilities courses, and recommendations for future implementation of similar asynchronous learning online activities in order to increase their academic value and prepare students for their forthcoming professional integration. (shrink)

To give substance to the rhetoric of ‘learning health systems’, a variety of novel trial designs are being explored to more seamlessly integrate research with medical practice, reduce study duration and reduce the number of participants allocated to ineffective interventions. Many of these designs rely on response adaptive randomisation. However, critics charge that RAR is unethical on the grounds that it violates the principle of equipoise. In this paper, I reconstruct critiques of RAR as holding that it is (...) inconsistent with five important ethical principles. I then argue that these criticisms rest on a faulty view of equipoise encouraged by the idea that a RAR study models the beliefs of a single rational agent about the relative merits of the interventions being studied. I outline a view in which RAR models an idealised health system in which diverse communities of fully informed experts shrink or grow as their constituent members update their expert opinions in light of reliable medical evidence. I show how a proper understanding of clinical equipoise can reconcile this conception of RAR with these five ethical principles. This analysis removes an in-principle objection to RAR and sheds important light on the relationship between clinical equipoise and transient diversity in the scientific community. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature (...) versus nurture" argument. Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

Focus on shareholders’ interests at the cost of other stakeholders’ interests and the ecosystem has brought into prominence the need for responsible leadership. This study builds a five-level framework for responsible leadership drawing on leadership styles from case studies presented at a National Convention on Responsible Leadership. For each of the five levels, the study further identifies the necessary condition and the sufficient conditions of the leader to develop responsible organization. This comprehensive framework combines levels identified by two earlier studies. (...) Implications for developing responsible leadership are suggested. (shrink)

Learning new movement patterns is a normal part of daily life, but of critical importance in both sport and rehabilitation. A major question is how different sensory signals are integrated together to give rise to motor adaptation and learning. More specifically, there is growing evidence that pain can give rise to alterations in the learning process. Despite a number of studies investigating the role of pain on the learning process, there is still no systematic review to (...) summarize and critically assess investigations regarding this topic in the literature. Here in this systematic review, we summarize and critically evaluate studies that examined the influence of experimental pain on motor learning. Seventeen studies that exclusively assessed the effect of experimental pain models on motor learning among healthy human individuals were included for this systematic review, carried out based on the preferred reporting items for systematic reviews and meta-analyses statement. The results of the review revealed there is no consensus regarding the effect of pain on the skill learning acquisition and retention. However, several studies demonstrated that participants who experienced pain continued to express a changed motor strategy to perform a motor task even 1 week after training under the pain condition. The results highlight a need for further studies in this area of research, and specifically to investigate whether pain has different effects on motor learning depending on the type of motor task. (shrink)

The responsible research and innovation framework seeks to bring science closer to society, with scientific research conducted not just for the benefit of society, but with role players in society engaging with scientists on research and innovation at every stage. A central focus of the RRI framework is the approach taken to embed these concepts in the higher education training of science students. In this study the direct engagement between science students and the public is explored as an opportunity for (...) achieving RRI learning outcomes. The study also explores the potential benefits that such direct engagement with the public holds for postgraduate biotechnology students. The case study described here suggests that even brief interactions with the public through science engagement activities such as “Speed-Date-a-Scientist” can contribute towards affirmation of choice of career, students’ motivation as researchers and shaping of their identity as scientists, important processes in their own learning to become scientists. Students also indicated a greater sense of motivation to do research that benefits the public, resonating with RRI learning outcomes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's (...) own, the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

Upshot: Albeit mostly supportive of our work, the commentaries we received highlighted a few points that deserve additional explanation, with regard to the notion of learning in our model, the relationship between our model and the brain, as well as the notion of anticipation. This open discussion emphasizes the need for toy computer models, to fuel theoretical discussion and prevent business-as-usual from getting in the way of new ideas.