In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...) for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused on capturing all (...) of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

The standard reading of Kuhn's philosophy attributes to him the view that the incommensurability of rival theories and theory-ladenness of observation make rational debate about competing paradigms nearly impossible. If this reflects his real view, then he has claimed something prima facie absurd, and easily refuted with historical counter-examples. It is not the incommensurability thesis per se that is easily refutable, but Kuhn's gestelt interpretation of it. The gestalt interpretation, moreover misrepresents his more fundamental ideas on paradigms, and is in (...) itself confused. The incommensurability thesis can be explained and defended without invoking gestalts, and this reconstructed view can be used to show that familiar criticisms, such as those of Davidson and Laudan, and unwelcome endorsements, such as that of Barnes, which are based on the assumption that Kuhn must be an extreme relativist, are all directed at views that he need not, and should not, hold. (shrink)

Where we once spoke in military terms, we now often wield the language of the market: health care is a “product” and we are its “providers” and “consumers.” The market metaphor constrains in various ways our vision of the goals we pursue in making health policy, of the options available to us in pursuing them, indeed—because policy implies a certain view of moral agency—of the way we relate to each other.

In this book, Benoît Dubreuil explores the creation and destruction of hierarchies in human evolution. Combining the methods of archaeology, anthropology, cognitive neuroscience and primatology, he offers a natural history of hierarchies from the point of view of both cultural and biological evolution. This volume explains why dominance hierarchies typical of primate societies disappeared in the human lineage and why the emergence of large-scale societies during the Neolithic period implied increased social differentiation, the creation of status hierarchies, and, eventually, (...) political centralisation. (shrink)

The recent literature on social norms has stressed the centrality of emotions in explaining punishment and norm enforcement. This article discusses four negative emotions (righteous anger, indignation, contempt, and disgust) and examines their relationship to punitive behavior. I argue that righteous anger and indignation are both punitive emotions strictly speaking, but induce punishments of different intensity and have distinct elicitors. Contempt and disgust, for their part, cannot be straightforwardly considered punitive emotions, although they often blend with a colder form of (...) indignation to favor low-cost, indirect, and collective forms of punishment such as mockery, exclusion, and ostracism. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

This article examines algorithmic content moderation, using the moderation of violent extremist content as a specific case. In recent years, algorithms have increasingly been mobilized to perform essential moderation functions for online social media platforms such as Facebook, YouTube, and Twitter, including limiting the proliferation of extremist speech. Drawing on Katherine Hayles’ concept of “cognitive assemblages” and the Critical Security Studies literature, we show how algorithmic regulation operates within larger assemblages of humans and non-humans to influence the surveillance and regulation (...) of information flows. We argue that the dynamics of algorithmic regulation are more liquid, cobbled together and distributed than it appears. It is characterized by a set of shifting human and machine entities, which mix traditional surveillance methods with more sophisticated tools, and whose linkages and interactions are transient. The processes that enable the consolidation of knowledge about risky profiles and contents are, therefore, collective and distributed among humans and machines. This allows us to argue that the cognitive assemblages involved in content moderation become a cobbled space of preemptive calculation. (shrink)

Volume 3, Issue 1, March 2019, Page 95-99.

Revealing what is happening in organizations in relation to ethical issues and what corrective action can be taken to prevent unethical practices, the author deals with a different aspect of ethical (or unethical) management within each chapter concluding with a quiz and case study.

Discusses similarities and differences between James and Skinner and criticizes Skinner for failing to provide an adequate description of complex behaviors. Similarities include opposition to a dualistic approach in which mind and body are seen as qualitatively different, and to the notion that mental phenomena are causal entities. In addition, there is agreement that mental events are actions and not copies of external reality. Skinner is criticized for providing an over-simplified account of complex phenomena and translating such a description to (...) operant terms. James is seen as being more painstaking in his description and more cautious in applying general principles. In particular, James's account of the concept of interest is seen as being more cognizant of the subtleties and complexities involved, whereas Skinner's translation of the concept to operant reinforcement is faulted as too narrow. (shrink)

This paper studies how in his Theory of Moral Sentiments Adam Smith answered to Mandeville on the role of pride and vanity in the economic and social dynamics of commercial societies. We show why vanity supersedes pride in his analysis and how he offers a more positive view of these two passions. We study in particular the economic and social consequences of pride and vanity and describe the psychological foundations of excessive self-esteem that these passions entail.

Benoit Mathot À partir du cadre théorique de la décoïncidence proposé par le philosophe François Jullien, cet article explore les enjeux d’humanisation des soins médicaux, ainsi que l’introduction de la dimension spirituelle dans la prise en charge des patients. Il revient enfin sur le dialogue possible entre ces réflexions contemporaines et les considérations du théologien luthérien Paul Tillich sur la santé.

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...) on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

Logicians disagree on (1) criteria for the presence of an argument, (2) criteria for adding implicit premises and (3) criteria for linking premises. I attempt to resolve all three problems, and in the process to remove the main obstacles to teaching diagramming. The first problem is resolved by working with real discourse that students find on their own, rather than the artificial examples and problems found in logic texts; it is further reduced by examining the different uses of argument and (...) understanding the extent to which the basic rules of diagramming are the same for the various uses. The other disagreements persist because logicians neglect to clarify the principal type of eakness we remedy by adding implicit premises and linking premises: in real discourse we do so to block substantive counterexamples, an idea correlated with that of substantive deduction, discussed by Govier, Wright and others. (shrink)

It has been argued that an adequate feminist response to sexist pornography demands not just efforts to eradicate sexist beliefs, but also aesthetic counter-intervention at the level of taste. This view motivates support for feminist pornography. This paper takes the feminist pornography suggestion seriously by unpacking difficulties for the project. I begin by spelling out two views about what makes feminist pornography feminist: the ‘content view,’ and the ‘context view,’ and discuss what I take to be existing arguments for the (...) latter. I then present two objections to the context view: the first focuses on how we characteristically interact with pornography (as a masturbatory aid), the second challenges the value of authenticity upon which much feminist pornography rests. If these arguments are correct, then there are serious flaws with feminist pornography as it is commonly conceived. I close with a brief suggestion of an alternative approach rooted in feminist solidarity. (shrink)

Deep Empiricism: Kant, Whitehead and the Necessity of Philosophical Theism offers a critical and comparative engagement of two great philosophers who are rarely treated together: Immanuel Kant and Alfred North Whitehead. Derek Malone-France provides insightful readings of Kant and Whitehead as he bridges the gap between those who study Kant's transcendental idealism and scholars of Whitehead's organic realism.

First, a number of previous theories of intrinsic motivation are reviewed. Then, several studies of highly motivating computer games are described. These studies focus on what makes the games fun, not on what makes them educational. Finally, with this background, a rudimentary theory of intrinsically motivating instruction is developed, based on three categories: challenge, fantasy, and curiosity.Challenge is hypothesized to depend on goals with uncertain outcomes. Several ways of making outcomes uncertain are discussed, including variable difficulty level, multiple level goals, (...) hidden information, and randomness. Fantasy is claimed to have both cognitive and emotional advantages in designing instructional environments. A distinction is made between extrinsic fantasies that depend only weakly on the skill used in a game, and intrinsic fantasies that are intimately related to the use of the skill. Curiosity is separated into sensory and cognitive components, and it is suggested that cognitive curiosity can be aroused by making learners believe their knowledge structures are incomplete, inconsistent, or unparsimonious. (shrink)

Recently published consensus recommendations on pediatric decision-making by Salter and colleagues (2023) did not address neonatal decision-making, due to the unique complexities of neonatal care. This essay explores three areas that impact neonatal decision-making: legal and policy considerations, rapid technological advancement, and the unique emotional burdens faced by parents and clinicians during the medical care of neonates. The authors evaluate the six consensus recommendations related to these considerations and conclude that the consensus recommendations apply to neonates.

This paper is an exploration of evolving ideas, urgencies, and actions that we have experimented with in our teaching of an environmental sustainability subject with pre-service teachers at an Australian university. It is a work in progress. Through this shared educator-student teaching and learning process we feel the tensions of contradictory forces that disrupt the flow of prior teaching as we all become unsettled by hope and reality, grief, and loss, all mixed in with a sense of urgency and tempered (...) by a set of often unimaginative contemporary pedagogical practices. These tensions often resort educators like us, to perpetuate well-worn and critiqued tropes such as how to ‘care for the planet’ through ‘greening’ practices in schools such as recycling and energy conservation. Always inadequate and limited we are experimenting in our pedagogical repertoire with new ways to teach as we could no longer keep up the charade of agitating for change in the same way. In this paper we explore some of the opening and closures that effect environmental sustainability teaching. We consider how through a reimagining of sustainability education with new pedagogical openings of ‘making kin’ we first attend to these emotional tensions as a means of waking up to who we are in the Anthropocene and then find ways to identify relational ethico-onto-epistemologies in our teaching. By disrupting humanist paradigms and embracing critical posthumanist sensitivities the educators and students nuzzle into new ways of knowing and being in the world. (shrink)

Polarization is a generalized feature of intellectual life. Few authors however have studied polarities as they actually occur in every day life and discourse. This paper proposes two hypotheses to account for the pervasiveness of polarities. The first relates to uncertainty. Almost everything that touches our lives is filled with irreducible uncertainty. As a rhetoric, polarization uses arguments from (future) consequences in order to manage the future. The second hypothesis relates to phenomenology: body and behavior incorporate tensions or dualistic properties (...) which are easily reproduced in language and thinking. Polarized thinking helps people to imagine extremes so that they may better anticipate the spectrum of possibilities available for action. The article concludes with remarks on the dangers of (over)generalizing and universalizing particulars (or extremes) in polarity based argumentation. (shrink)

This special issue brings together scholars who identify spaces of learning in Australia, Vietnam, Sweden, Finland, and Russia that explore the potential and limitations of current theoretical and...

This essay is primarily an exposition of a Lacanian view of subjectivity, as one that is literally informed by the fact of speaking. The genesis within speaking is related to a possible bridge between the social and the subjective that has troubled psychology for decades. The inherence of alterity to the structuration of the subject is described as part of this exposition. This intrinsic otherness as a self-difference and as a framing of the speaking act is described as a way (...) to reexamine recalcitrance and everyday problems in diversity. It is argued that diversity, far from being a dalliance or trite new set of rules for civil behavior, taps into a problematic of the subject. Ways of understanding the encounter with the other, as might follow from Lacan's work, are articulated within the context of religious law and of the social contract in current late capitalist society. Each foray into a particular instance of encountering diversity is framed within the overall exposition of subjective structuration. 2012 APA, all rights reserved). (shrink)

Country music critics and scholars have noticed an apparent contradiction between the practical identity of country music and the image of the male country singer as the 'rhinestone cowboy'. In this case, the problem is one of how we can make sense of the rural, working-class, ruggedly masculinity persona common to the genre with its elaborately embroidered, brightly colored, and highly embellished male fashion. The intractability of this problem has led some to argue that the simplest solution is to just (...) deny the legitimacy of country music authenticity discourse altogether. That is, all the genre’s talk of the rural working class is inauthentic and should be discarded. Here, I argue that by accounting for country music authenticity in terms of the genre being a dual character concept, we can fully address the skeptic's worries. Beyond merely being compatible with the Nudie suit however, this notion of authenticity is also our best way of understanding the aesthetic value of the rhinestone cowboy image at all. The resulting picture, in which the suit primarily serves as an epistemic signifier of one’s standing in the country music community, allows for the Nudie suit to function as a class, and sometimes queer, commentary on mainstream culture. (shrink)

We are naturally inclined to judge that it is better to know that p than to merely truly believe that p. How to account for this intuition? In this paper, I examine Williamson, Goldman and Olsson, and Pritchard's answers, and agree with Pritchard that it cannot be consistently claimed that knowledge is epistemically superior to mere true belief, and that truth is the only finally valuable epistemic good. Contrary to Pritchard, I argue that the latter claim is deeply mistaken. I (...) do so by showing that mere true beliefs have no epistemic value at all. I sketch the consequences of this point concerning the epistemic value of knowledge, and answer some objections to the thesis that mere true beliefs do not possess epistemic value. (shrink)

Benoit Mathot | : La négativité, comme catégorie fondamentale de l’existence humaine, connaît aujourd’hui une crise profonde qui la conduit à son effacement progressif des pratiques et des discours sociaux, culturels, religieux, au profit d’une logique de la coïncidence. Dans cette perspective, cet article a pour projet de proposer un parcours interdisciplinaire à travers la psychanalyse, les études littéraires et la théologie chrétienne, afin de montrer la centralité de ce phénomène. | : The negativity, as fundamental category of the human (...) existence, knows a deep crisis today which leads it to the progressive disappearance of the socials, cultural and religious practices and speeches, for the benefit of a logic of the coincidence. In this perspective, this article plans to propose an interdisciplinary work through the psychoanalysis, the literary studies and the Christian theology, to show the centrality of this phenomenon. (shrink)

This book revisits the encounter between Chinese and Western philosophy while unfolding questions about the way "comparative philosophy" is conducted today. In the vulgate of intellectual history, "Western thought" has constructed a substantialist view of reality that puts "relations" and "processes" into a subordinate position. The same view explains for the primacy given to the autonomy of individual beings. In contrast, according to the same vulgate, Chinese thought has been mainly stressing the fluidity of all phenomena and forms of life (...) so as to best adapt to their overarching patterns. I label such vision the Disneyland of comparative philosophy. It deciphers texts, partly in function of concepts that it extracts from them, partly according to notions that are superimposed over these texts. The two first chapters are focused upon the Western version of the "Disneyland of comparative philosophy." The third chapter shifts to Chinese narratives about local, comparative and global philosophies. In contrast to these approaches, the fourth chapter offers a blueprint as to the way to engage different philosophical traditions into tasks they define and share together. A last chapter presents four cases of ongoing transcultural philosophical dialogues and the promises they bear. Once it develops outside pre-formatted narratives, the web shaped by our philosophies and wisdoms suggests the outlines of a world that we could inhabit together. (shrink)

One of the first frameworks developed for understanding the relation of science and technology to the economy has been the linear model of innovation. The model postulated that innovation starts with basic research, is followed by applied research and development, and ends with production and diffusion. The precise source of the model remains nebulous, having never been documented. Several authors who have used, improved, or criticized the model in the past fifty years rarely acknowledged or cited any original source. The (...) model usually was taken for granted. According to others, however, it comes directly from V. Bush’s Science: The Endless Frontier. This article traces the history of the linear model, suggesting that it developed in three steps corresponding to three scientific communities looking at science analytically. The article argues that statistics is a main reason the model is still alive despite criticisms, alternatives, and having been proclaimed dead. (shrink)

In this paper, I propose a novel theory for why we find certain mundane everyday experiences, objects, and phenomena satisfying aesthetic experiences. I refer to these as 'oddly satisfying' experiences, and argue that they assert themselves as aesthetic by being suggestive of the cinematic. This cinematic quality is the product of everyday experiences gesturing towards a kind of careful artistic intent.

There clearly seems to be something problematic with certain forms of epistemic dependence. However, it has proved surprisingly difficult to articulate what this problem is exactly. My aim in this paper is to make clear when it is problematic to rely on others or on artefacts and technologies that are external to us for the acquisition and maintenance of our beliefs, and why. In order to do so, I focus on the neuromedia thought experiment. After having rejected different ways in (...) which one might want to capture the intuition in question, I argue that this device deprives us of understanding and therefore of the most valuable epistemic good. I then address the question of whether the moral of the story is that we should not develop, be equipped with, or use devices such as the neuromedia. (shrink)

When one tries to determine what the iconic dimension of thought consists in for Peirce and what its range is, one might have the impression that his remarks on this matter are inconsistent. For instance, on the one hand he writes the following: Remember it is by icons only that we really reason, and abstract statements are valueless in reasoning except so far as they aid us to construct diagrams. The sectaries of the opinion I am combating seem, on the (...) contrary, to suppose that reasoning is performed with abstract "judgments," and that an icon is of use only as enabling me to frame abstract statements as premisses. In an apparently similar fashion, Peirce argues that the predicate of a... (shrink)

Many widely divergent accounts of luck have been offered or employed in discussing an equally wide range of philosophical topics. We should, then, expect to find some unified philosophical conception of luck of which moral luck, epistemic luck, and luck egalitarianism are species. One of the attempts to provide such an account is that offered by Duncan Pritchard, which he refers to as the modal account. This view commits us to calling an event lucky when it obtains in this world, (...) but fails to obtain in a wide class of nearby possible worlds. In support of this account, Pritchard argues that a theory of luck ought to capture the fact that luck comes in degrees and that luck is closely associated with risk. I argue against this claim by suggesting that an understanding of luck grounded in considerations of probability is better able to satisfy these demands, and that the probability theory better explains exemplary cases of luck like those brought up by Pritchard. (shrink)

J'ai choisi de travailler un portrait de Bachelard pour retrouver son humanité, sa qualité de coeur, d'âme, ce qui est trop souvent absent dans les ouvrages traitant de ses travaux, ses livres. Fils de cordonnier, le chant des outils, le parfum des cuirs, l'attitude de l'artisan appliqué à faire et à parfaire son travail : le quotidien resta vivant en sa mémoire. Il n'avait pas oublié d'où il venait, l'admiration vient de là. Son humanité porte aussi la mort prématurée de (...) son épouse, Jeanne, le 20 juin 1920. Marié le 8 juillet 1914, mobilisé le 2 août de la même année jusqu'au 16 mars 1919, il a vécu 38 mois dans les tranchées. De leur union est née une fille, Suzanne. On peut dire qu'en dépassant ses peines, son deuil, il est devenu un fin guetteur de la beauté de vivre et du monde. La poésie a été pour lui une matière lui donnant de vibrer et respirer l'Univers. "La sagesse, dit-on, a pour origine et pour creuset de savoir lutter". Au long de son oeuvre, Bachelard a plaidé pour "la liberté, les hautes valeurs morales". En écrivant "Le visage de Bachelard", peu à peu, s'est instauré un dialogue, s'est imposée une façon de maïeutique ouvrant à des réflexions sur la vie, l'amitié, l'amour, agressivité, égocentrisme, haine, racisme, "la mauvaise foi" selon Sartre, "l'illusion" selon Pascal. En outre, il ressort en rapprochant plusieurs de leurs pensées que Gaston Bachelard et Léonard de Vinci étaient et restent en parenté de génie. Benoît Aubierge. (shrink)