This article proposes a model of comparative mysticism that bases its rationale for comparison in the dynamic interaction between three components: neurocognitive mechanisms and substrates, phenomenal experiences, and noetic accounts. In examining the phenomenon of ego- dissolution ( EDn), using this model, a scholar can identify universal and contextual components of a mystic’s experiences. The neurocognitive component is derived from neuroscientific studies including brain injury, psychedelics, and meditative practices. The phenomenal and noetic components are derived from personal accounts as narrated (...) by the mystics themselves. These three components will be applied to the ego- dissolution experiences of the modern Indian mystic Sadhguru (1957–Present), the medieval Spanish mystic Teresa of Ávila (1515–1583), and individuals, including scientists, using the psychedelics psilocybin and LSD. This model should introduce an alternative approach to comparative mysticism as a response to the long-standing debate between Walter T. Stace’s essentialist model and Steven T. Katz’s contextualist model, respectively. In particular, the neurocognitive component should function as a bridge providing a deeper level of analysis encompassing and undermining differences between universalist and contextualist reductions. The advent of comparative mysticism may be seen as a collaborative effort that is multidisciplinary in nature, contributing to theology, religious studies, philosophy, history, cognitive neuroscience, and many other disciplines. (shrink)

I criticize Julian Dodd's Platonist conception of musical works as discovered eternal types, and defend and elaborate upon Jerrold Levinson's conception of musical works as creatable indicated types. I raise broadly three sorts of worries for Dodd. First, I argue that Dodd conflates types with Platonist universals in claiming that types are eternal and discovered. Secondly, I raise worries for Dodd's Platonist claim that musical works are discovered not created. Here I argue that Dodd's claim goes against our current musical (...) practice. I then argue that Dodd's view leads to a false divide across the arts, and defend this claim from Dodd's criticisms. I also defend the claim that Dodd's view robs artists of the special status we give to them as creators, not merely creative discoverers. I suggest also that musical works can not only be created but can also plausibly cease to exist, which Dodd's Platonism would seem to deny. Thirdly and finally, I defend the conception of musical works as indicated types from Dodd's criticisms. Here I argue that Dodd's view is ontologically profligate. I also submit that Dodd is mistaken in thinking that indicated types have times as their constituents and thus must be events. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 38-52 [Access article in PDF] Artist-Audience Communication: Tolstoy Reclaimed Saam Trivedi Whoever is really conversant with art recognizes in [Tolstoy's What is Art?] the voice of the master.1There has to be some presumption that, as one of the greatest artists who ever lived, Tolstoy might actually have known what he was talking about.2It is widely accepted in contemporary Anglo-American aesthetics that, (...) despite Tolstoy's own literary achievements, his "moralism" about art is a view without much merit. For the most part, I concur with this current consensus about Tolstoy. However, despite the many flaws in his view, I think Tolstoy was on to something, after all. In particular, I believe a concept of artist-audience communication similar to what Tolstoy had in mind can be fleshed out so as to avoid the problems that Tolstoy ran into, while reclaiming the insights in his view.3In what follows, I begin by suggesting briefly that recognizing a quasi-Tolstoyan concept of artist-audience communication may have important implications for how we should approach artworks, and thus also for aesthetic education. Next, I spell out this concept. I then offer trenchant criticisms of Tolstoy's view. Finally, I point out affinities between Tolstoy's concept and mine, while also distinguishing my concept of artist-audience communication from Tolstoy's concept of artistic communication. It will emerge, I hope, that while I disagree more than agree with Tolstoy, the issues where I agree with him may be more significant. Artist-Audience Communication I begin by discussing briefly how talk of a quasi-Tolstoyan artist-audience communication bears relevance for how we should approach artworks, and thus has relevance for aesthetic education. If I am right, then in approaching [End Page 38] and experiencing artworks, we should seek a correct experiential understanding of them that is shared between the artist and audience, and between ourselves and other members of the audience. This does not meanthat we seek what the artist did intend in creating the artwork, as actual intentionalism would have us do. Rather, as members of a competent audience, we should first analyze what a given artwork means by attending to the work itself.4 This includes the broad art-historical context of production (including the period, style, category, or genre of the work; the artist's public persona; the oeuvre of the artist; works by the artist's contemporaries; the social, cultural, and political milieu of the artist; and so on) and the public conventions that apply to it. In cases of irony, satire, and allusion, we may also need to broaden the context and appeal to artistic intentions. Then we should attribute this "work-meaning" to the historical artist as part of what she or he could have intended, so long as this was historically possible. If this historically possible work-meaning coincides with what she or he did intend in that artistic intentions are successfully realized in the work, then we have a real sharing of a correct, experiential understanding of the work between artist and audience, and thus real communication between them in the sense of artist-audience communication explained above. On the other hand, if what the artist did intend is not realized in the work and thus does not coincide with work-meaning as part of what she or he could have intended, then we still have at least a minimal, hypothetical sharing and communication insofar as our correct, experiential understanding of the work is shared with what the artist could have intended.This bears relevance for aesthetic education, assuming one of the purposes of aesthetic education is to teach children and other newcomers to art how to appreciate artworks.5 In teaching people how to appreciate artworks, I suggest we emphasize the shared, communicative aspects of the experience of artworks when they are understood more or less correctly. We should tell them that they should seek to communicate with the artist via the artwork, trying to understand the artwork correctly in the very experience of the... (shrink)

The development of cultural heritage tourism (CHT) frequently encounters obstacles pertaining to community support, as the attitudes of the local populace typically dictate the outcome of tourism endeavors. The community's influence on these perceptions has been undervalued in traditional approaches, which has resulted in low levels of engagement and support for cultural preservation. This study aims to bridge this gap by investigating how different degrees of community involvement impact local perceptions of the advantages of tourism, the preservation of culture, and (...) general satisfaction with the results. Data was gathered from 300 participants who were actively involved in many heritages sites' tourism planning. The connections between perceptions of the advantages of tourism and community involvement (CI) were evaluatedby utilizing Partial Least Squares Structural Equation Modeling (PLS-SEM). The results demonstrated that the perceptions of economic benefits (PEB), perceptions of cultural preservation (PCP), and community satisfaction (CS) are all positively impacted by greater CI. The aforementioned results underscore the significance of adopting participatory methodologies, implying that cultivating community engagement is vital for the sustainable growth of CHT. (shrink)

Today, business corporations across the globe are moving beyond the short-term myopic goal of profit maximization to long-term sustainability goals involving environmental, social and corporate governance goals. This is due to the growing realization that ESG factors constitute a significant source of risk for the business and can affect their financial returns. Academic research has shown that improved ESG performance has lowered risk and enhanced financial performance but results seemed to vary widely across countries. Regrettably, this subject remains largely un-researched (...) in the context of emerging economies, including India. This paper attempts to fill this much needed gap in sustainability literature in one of the largest emerging market economies, India. It empirically examines the impact of environmental, social and corporate governance performance of companies on their financial performance, in India, using panel regression models. The findings of the study indicate that good corporate ESG performance enhances financial performance. The findings of this study have important implications for investors, corporate management as well as policymakers and regulators. (shrink)

Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, (...) he advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination. Saam Trivedi is Associate Professor of Philosophy at Brooklyn College, City University of New York. (shrink)

_Despite advances in standard of living of the population, the condition of widows and divorced women remains deplorable in society. The situation is worse in developing nations with their unique social, cultural and economic milieu, which at times ignores the basic human rights of this vulnerable section of society. A gap exists in life expectancies of men and women in both developing and developed nations. This, coupled with greater remarriage rates in men, ensures that the number of widows continues to (...) exceed that of widowers. Moreover, with women becoming more educated, economically independent and aware of their rights, divorce rates are increasing along with associated psychological ramifications. The fact that widowed/divorced women suffer from varying psychological stressors is often ignored. It has been concluded in various studies that such stressors could be harbingers of psychiatric illnesses (e.g., depression, anxiety, substance dependence), and hence should be taken into account by treating physicians, social workers and others who come to the aid of such women. A change in mindset of the society is required before these women get their rightful place, for which a strong will is needed in the minds of the people, and in law-governing bodies._. (shrink)

At times we come across traditional sayings that pose enigmas. Often, striving to resolve the puzzle turns into a quest, a search for meaning that, quite unexpectedly, throws light on problems facing us today. Such an enigmatic Sanskrit couplet exhorts invoking five females regularly to redeem us of failings, howsoever grievous. Ahalya draupadi kunti tara mandodari tatha/ Panchakanya smarenityam mahapataka nashinim// The choice of the five is itself intriguing, all being epic heroines: Ahalya, Tara and Mandodari from the Ramayana; Kunti (...) and Draupadi from the Mahabharata. Even more so is the celebration of each as kanya, not as nari or sati. If kanya connotes ‘virgin’, the matter becomes more puzzling since each had intimate relationships with more than one man. In analysing what is known about them, we are surprised, for these heroines of ancient myth turn out to be, quite unexpectedly, guides for us in the twenty-first century. (shrink)

This new Bangla book discusses Michel Foucault's political and philosophical thoughts in the last decade of his career. The author argues that this decade was one of his most restless, creative, and fascinating. He discusses and analyses Foucauldian theories, such as sexuality, governmentality, bio-politics, and bio-power, as also his concern with the politics of truth, which includes his thoughts on modernity and critique.

But to infer is not to be trained in Logic. The primitive persons inferred ; the common layman infers. But they do not know any bit of what is known as ...

Contributed papers presented during the national seminar held at Visva- Bharati, from August 20-21, 1993.

Film production is the process of creating a film, involving stages such as progress, pre-production, invention, post-production, and sharing. It encompasses planning, scripting, shooting, editing, and finalizing the film for public viewing. The process of imagination drives innovation in scripting, directing, and cinematography, resulting in unique, engaging experiences that captivate audiences with their emotive stories. The principle of this investigation is to assess how psychological factors add to enhancing imagination in film production, focusing on their impact on creative processes and (...) outcomes. A study surveyed 680 students from college film program students to analyze their creative personality and imaginative capabilities using structured questionnaires. Key psychological constructs included Creative Self-Efficacy, Emotional Resilience, Cognitive Flexibility, and Intrinsic Motivation. The study investigated the impact of psychological factors on college cinema students' creative imagination in filmmaking, demonstrating high validity and reliability with Factor Loadings exceeding 0.76, Composite Reliability higher than 0.88, and Average Variance Extracted (AVE) range as of 0.59 to 0.67. Discriminant validity was confirmed as every construct AVE was better than its square correlations by other constructs. Psychological factors significantly influence film production imagination, fostering creative thinking and emotional depth. Understanding and harnessing these factors enhances storytelling, character development, and audience engagement, ultimately enriching the cinematic experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 108-112 [Access article in PDF] Themes in the Philosophy of Music, by Stephen Davies. New York: Oxford University Press, 2003, 283 pp., hardcover. Over the last few decades, there has been a remarkable output of several books and articles on the philosophy of music. Stephen Davies is one of the leading contributors to this growing literature in the Philosophy of Music. This (...) important and thought-provoking volume collects fifteen of Davies's essays on various philosophical issues pertaining to music such as ontology, performance, expression, and appreciation. With the exception of two, all of the essays have been published before. There is not enough space here to do justice to all fifteen essays, and thus I focus on those that strike me as most important and where I disagree with Davies.First a word about the book's relevance to aesthetic education and itspotential for use in aesthetic education. Davies's book strikes me as having immense potential for aesthetic education. I can easily see the various essays as being of great value in educating performers, composers, musicologists, and music lovers about various aspects of performance and appreciation especially. Here is a brief list of questions pertinent to aesthetic education that Davies's work raises and addresses: Why is performance on authentic instruments important? What is involved in understanding musical works? Is technical training necessary to appreciate musical works fully? To what degree can the performer create her own interpretation of a work, and how much does the score constrain her?Now on to the essays themselves. The first part of Davies's volume concerns ontology, and the first essay "John Cage's 4'33": Is it Music?" addresses this very famous musical work. Davies argues that 4'33" is not music but rather a theatrical piece about music because it does not exclude anysounds as being ambient noise, as Davies thinks musical works should do. Davies does not deny, however, that this work is an artwork. He thinks instead that the work is not organized sound, as all music must be, for it does not exclude any sonic events during performance as ambient; even sounds made by the performer of this work, claims Davies, are mistakes and not ambient. Thus neither Cage nor the performer organize (select, appropriate) sounds. Davies also suggests that while Cage wants us to have an aesthetic interest in the sonic properties of 4'33," he failed in his intention for we hear the work instead in musico-historical terms.Contrary to Davies's view, one mustwonder if 4'33" just is a theatrical piece about music, not a musical work as such. Unlike theater and theatrical works which are meant to be both seen and heard, Cage's work is only meant to be heard. Davies's view would seem to neglect this important auditory aspect in claiming that the work is just theater not music. Besides, why must all musical works exclude some soundsas ambient, and why might Cage's [End Page 108] work not be an exception to this? Why couldn't 4'33" be a limiting case of music, at one extreme of a range of musical works? As for Davies's claim that any sounds made by the performer who is supposed to be silent are mistakes not ambient noise, one must wonder if Cage intended instead that sounds made by the performer (such as musical tones or coughs) be bracketed by listeners as not part of the work while sounds made by the audience are part of the work, thus undermining the audience-performer distinction. Moreover, against Davies's claim that Cage intended us to have an aesthetic interest in sonic properties, I submit that Cage was Zen-influenced and not committed to such dualisticaesthetic concepts (such as beautiful vs. ugly) or any concepts for that matter, whether musico-historical or not. Instead, Cage intended us to simplylisten, with an open mind and openears, without adhering rigidly to concepts or hearing 4'33" in musico-historical terms, difficult as that may be. Finally, there... (shrink)

This study used a laboratory experiment with monetary incentives to test the impact of three personal factors (moral reasoning, value orientation and risk preference), and three situational factors (the presence/absence of audits, tax inequity, and peer reporting behavior), while controlling for the impact of other demographic characteristics, on tax compliance. Analysis of Covariance (ANCOVA) reveals that all the main effects analyzed are statistically significant and robustly influence tax compliance behavior. These results highlight the importance of obtaining a proper understanding of (...) these factors for developing effective policies for increasing the level of compliance, and indicate that standard enforcement polices based on punishment alone should be supplemented by an information system that would acquaint tax payers with the compliance level of other tax payers; reinforce the concept of fairness of the tax system among tax payers; and develop programs that enhance and appeal to a taxpayer's moral conscience and reinforce social cohesion. (shrink)

In this article, I assume that musical works are abstract types, and I raise and address a new question concerning musical ontology that may take the types view at least a step further: When do musical works cease to exist? I then propound my view about musical works as types, which is somewhat like the Aristotelian Realist position concerning universals. Next, I address some objections to that view. Finally, I provide some grounds for rejecting alternative views that see Western classical (...) musical works before 1950 (the sorts of musical works the discussion here is restricted to) either as classes or else as kinds. (shrink)

Over the last several years, there has been a growing controversy about whether Yogacara Buddhism can be said to be idealist in some sense, as used to be commonly thought by earlier scholars. In this paper, I first clarify the different senses of idealism that might be pertinent to the debate. I then focus on some of the works of Vasubandhu, limiting myself to his Vimsatika, Trimsika, and Trisvabhavanirdesa. I argue that classical Yogacara Buddhism, at least as found in these (...) works of Vasubandhu, is closer to epistemic rather than metaphysical idealism or absolute idealism, as I understand these. However, there are undoubtedly some important differences between Vasubandhu's Yogacara and Western epistemic idealism that cast doubt on the idea that Yogacara is simply to be lumped together with Western epistemic idealism. (shrink)

This paper is a comprehensive survey of the alarming deterioration in the morals, values and mental health of individuals and societies right across the globe. In fact this decline is really the true globalization of the day, not so much equitable distribution, meeting of minds and so on. The author explores numerous reports and writings of researchers, poets, thinkers, policy-makers, journalists and intellectuals, and uses all that to deliver a shattering knock to the complacent and smug modern citizen—Western or Eastern. (...) For remedies against the modern consumerist-materialist global epidemic, Bhattacharya falls back upon classical Eastern and Indian thought. This corpus offers timeless wisdom, the seers having accurately forecasted today's human predicament and having laid down the blueprint for sane living. (shrink)

At times we come across traditional sayings that pose enigmas. Often, striving to resolve the puzzle turns into a quest, a search for meaning that, quite unexpectedly, throws light on problems facing us today. Such an enigmatic Sanskrit couplet exhorts invoking five females regularly to redeem us of failings, howsoever grievous: Ahalya draupadi kunti tara mandodari tatha\ Panchakanya smarenityam mahapataka nashinim\\ The choice of the five is itself intriguing, all being epic heroines: Ahalya, Tara and Mandodari from the Ramayana; Kunti (...) and Draupadi from the Mahabharata. Even more so is the celeberation of each as kanya, not as nari (woman) or sati (devoted to the husband). If kanya connotes ‘virgin’ (‘daughter’ makes no sense as several of them are not womb-born), the matter becomes more puzzling since each had intimate relationships with more than one man. In analysing what is known about them, we are surprised, fore these heroines of ancient myth turn out to be, quite unexpectedly, guides for us in the twenty-first century. In the previous issue (12:1) the exploration had dealt with four of the five kanyas. This concluding part examines the persona of Draupadi, heroine of the world's longest epic, the Mahabharata.1. (shrink)

In the present work, I attempt to address the issue of what it means to say that art is a form of communication, that many works of art communicate to us, and that many avant-garde artworks do not communicate to us. These are claim often made by those who are appropriately backgrounded in the arts, and often even by laypersons. ;I focus largely on music and claim that artistic communication is important though not essential to be an artwork, and to (...) be valuable as such. At least four different concepts or senses of artistic communication are identified: artistic communication of messages, artistic communication of information, artistic communication of mental states, and artist-audience communication. A work of art may communicate in one or the other of these senses without necessarily communicating in all of these senses. ;It is also claimed that these different concepts of artistic communication have humanistic, cognitive and other values. At the same time, I reject the view that art should be seen as some sort of language, and that artistic communication should be explicated in terms of art being some sort of language. ;Within the broad framework of artistic communication, I also deal with some central issues in philosophical aesthetics, as well as some issues outside aesthetics, and often offer my own views on these in the light of what others have said. These issues include the role of the artist's intentions in interpreting artworks, artistic expressiveness, the values of art, the allegedly non-communicative and alienating effect of avant-garde art, Tolstoy's theory of artistic communication, and art's contributing to our self-understanding. Other issues discussed include the nature of metaphors and the question of their paraphraseability, and the nature of emotions, moods and feelings. (shrink)

On the works and philosophy of Gaṇeśa Muni Śāstrī, b. 1931, Jaina saint and author.

This comprehensive analysis dives deep into the intricate interplay between artificial intelligence (AI) and human agency, examining the remarkable capabilities and inherent limitations of large language models (LLMs) such as GPT-3 and ChatGPT. The paper traces the complex trajectory of AI's evolution, highlighting its operation based on statistical pattern recognition, devoid of self-consciousness or innate comprehension. As AI permeates multiple spheres of human life, it raises substantial ethical, legal, and societal concerns that demand immediate attention and deliberation. The metaphorical illustration (...) of humans as “shepherds” of AI, coupled with a thought-provoking examination of “agency without intelligence,” engenders deep reflections on the future of human-AI interplay and the associated philosophical, ethical, and practical ramifications. The paper further elucidates critical challenges associated with AI, such as ethical dilemmas, “agency without intelligence,” the role of human oversight, and the environmental impact of AI technologies. In the pursuit of solutions, the paper maps prospective directions, emphasizing the need for robust AI policies, improved AI literacy, sustainable AI practices, and a continued dialogue on the multifaceted issues surrounding AI. Through a holistic exploration of AI, this paper underlines the necessity for a multidisciplinary, collaborative approach to chart an ethical, beneficial, and sustainable AI future, enabling society to harness the potential of AI responsibly while mitigating the associated risks. (shrink)

The doctrine of karma is a vexed philosophical question and karmic law has often been confused with fatal ism. This article seeks to put forward the author's understanding of this complex concept. It is a cosmic law of action with its inevitable consequence and reaction. Narration of parables—metaphors pregnant with rich meaning—supplemented with instances from real life show a path out of the labyrinth, even the much- debated issue of determinism and free will. The thesis is that karmic law can (...) provide the discerning intelli gence, cultivated through chitta-shuddhi, adequate guidance for making the choice that may help one—if one chooses to—in avoiding decisions for short-term gains that breed long-term misery. (shrink)

Dear editor,I read with interest the findings from Professor Seale's study and listened to the discussion with the author on Radio 4's Today programme on the 26 August 2010.I commend the author's conclusions that ‘Greater acknowledgement of the relationship of doctors' values with clinical decision-making is advocated’. The study opens up a wider debate about the relationship of both doctors' and nurses' values with the whole process of care. The Liverpool Care Pathway for ….

Psychiatry has come up as one of the most dynamic branches of medicine in recent years. There are a lot of controversies regarding concepts, nosology, definitions and treatments in psychiatry, all of which are presently under a strict scanner. Differences are so many that even the meaning of psychiatry varies amongst individual psychiatrists. For us, it is an art to practice psychiatry and give the patient what he needs. Still, it should be practiced with great caution and utmost sincerity towards (...) the patient, based on scientific knowledge and not to be guided by individual conceptions alone. Ethics in psychiatry forms an integral part of its basic concept and meaning, and a tight balance should be maintained between professional advancement and patient benefit. In recent years, the scope of psychiatry has enlarged considerably, with wide ranging influences from Sociology, Anthropology and Philosophy on the one hand, and Neurology and Medicine on the other. (shrink)

Interpretation of the yoga philosophy of Aurobindo Ghose, 1872-1950.