In most general terms, my paper is about the mixture of agendas in the recording industry, where documentation, with its apparently educational implications, becomes difficult to distinguish from a range of distinct, even opposed, goals—which I group under the heading "fabrication." After a few historical remarks, I develop the concept of what I call works of phonography —that is, sound-constructs created by the use of recording machinery. I detail their ontological characteristics, as contrasted the features of ordinary musical works. WPs (...) are—I claim—replete. They are autographic. And they are phono-accessible—that is, accessible only through playbacks of authentic instances of their record artifacts, e.g., cassette tapes, CDs, etc. I then turn to Theodore Gracyk's recent study of rock music, arguing that his account is formally similar to my account of WPs. This raises the question of whether there be counter-examples to Gracyk's account—particularly of the sort that show his view to be too broad. I bring this to a focus finally by a comparison of rock recordings with jazz recordings—two classes that Gracyk tries to keep ontologically distinct. I argue that many classic jazz recordings are artifacts of the recording studio, no less than those Gracyk identifies as pure cases of rock music. In the same vein, I argue that, once recorded, the improvisational music of jazz is deformed—indeed, that it acquires features of WPs. This has the further implication that Gracyk cannot preserve his sharp distinction between rock and jazz records that he want's to maintain. (shrink)

What aspects of philosophical style really count? What aspects of philosophical writing count only as matters of style? Some features of philosophical writing and talking do seem to be of merely ornamental significance, worthy subjects only of gossip or banter. We are familiar with the academic sneer with which poor Professor Kluck is charged with having “somehow managed to confuse” one thing with another. A more serious stylistic matter, of course, would be Professor Kluck’s own willingness to use the apparatus (...) of modal logic in his pathetic endeavors. Or is that a matter of style? If so, does the same concept apply to such amusing and affective phenomena as accent and cadence? We have heard Professor Chisholm’s rising terminal voice inflection, if only because it is so widely imitated. One thinks of Professor Earle’s favorite condemnation “boring” pronounced with an “o” which seems to touch base on every vowel sound known to man. We are impressed by Goodman’s pithiness, and we register his penchant for alliterative triples. We compare Bergmann’s Laocöonian baroque prose with Quine’s soothing urbanity. It is an interesting fact that these are the features which come to mind when we begin to consider the whole question of philosophical style. Have we so internalized the parts that really count that they seem “white,” neutral, style-free? There might well be historical factors which encourage such blindness. Varying degrees of lingering transcendentalism about philosophical method would not be easily reconciled with the awful idea that one is merely speaking a local dialect. Of course the transcendentalism itself is rarely owned up to as such, as if it is assumed that it is Reason which speaks but that it is in poor taste to say so. Alternative methods, when confronted, generate distaste, horror, or the head-shaking sort of wonderment of the Eighteenth Century Parisian who wondered how on earth anyone could be a Persian. (shrink)

Some two hundred years ago the course of philosophy was changed, and we shall in this paper take it for granted that we cannot return to an earlier standpoint. We have left behind, not simply the notion that we can penetrate the nature of things by pure reason, but also the idea that our knowledge moves in ever-widening circles of objectivity toward a standpointless comprehension of things. Absolute comprehension is a mere regulative idea, although even that is misleading if it (...) suggests that we could somehow speculate on what it would be like to circumscribe the world in some enormous final circle. The idea that the world is inexhaustible is part of this turning point, but that is in itself not a new idea. What is more to the point than an indefinitely long parade of new facts is the permanent possibility—even within the limits of some absolute but undiscovered conditions of thinking—of revising our human schemes, or, if you wish, of revising our concepts of what, relative to schemata, is to count as an element or part of a system, or as an instance of a general law. (shrink)

Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman's allographic/autographic distinction, Adorno's critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges (...) that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book's commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. Chapters 4 and 5 use the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work, after which chapter 6 examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Brock Macdonald1, Evi Vakiani2, Rhonda K Yantiss3, Jun Lee4, Robert S Brown Jr5, Samuel H Sigal61Division of Gastroenterology, Department of Medicine, University of California-San Francisco, San Francisco, CA, 2Department of Pathology, Memorial Sloan–Kettering Cancer Center, New York, NY, 3Department of Pathology and Laboratory Medicine, New York Weill Cornell Medical College, New York, NY, 4Division of Nephrology, Department of Medicine, Weill Cornell Medical College, New York, NY, 5Division of Gastroenterology, Department of Medicine, Columbia University College of Physicians and Surgeons, New York, (...) NY, 6Division of Gastroenterology and Hepatology, Department of Medicine, New York University, New York, NY, USA: The use of sirolimus as an alternative to calcineurin inhibitors for posttransplant immunosuppression is associated with a variety of inflammatory conditions. In this report, we describe the case of a 34-year-old man who developed abnormal liver tests 6 years after live-donor kidney transplantation and 5 years after initiation of sirolimus-based immunosuppression. Elevated aminotransferase levels persisted after withdrawal of potentially hepatotoxic medications, and serologic evaluation for viral hepatitis, autoimmune disease, and genetic disorders was unrevealing. Liver biopsy revealed prominent hepatocellular injury associated with a mixed inflammatory infiltrate and liver tests normalized within 2 weeks of discontinuation of sirolimus. In this report, we review previous reports of sirolimus hepatotoxicity and propose a unifying hypothesis for the various inflammatory conditions that have been attributed to sirolimus.Keywords: sirolimus, immunosuppression, transplant, inflammatory conditions, hepatotoxicity. (shrink)

The expansion of ethics review, beyond its origins in medical research, is the subject of growing critical analysis internationally, especially from social science researchers. Our study builds on this analysis by considering ethics review specifically within tertiary-based educational research. As a foundation for a larger study, we explore the reporting of ethics review within articles from a snapshot of education journals. A cross-sectional review considered 125 articles from 24 journals spanning medical and nurse education, the Scholarship of Teaching and Learning, (...) and educational technology. Among similar types of research our findings highlight variation in institutional ethical review processes and outcomes. Despite most journals providing guidelines for reporting ethics review, adherence to these guidelines by authors or editors was not always evident, but more likely in health-related education journals. We argue that identified areas of variation may reflect the differing influence and proximity of biomedical values. This influence has been under examined in tertiary-based educational research but may contribute to inequitable learning, researching and publishing experiences, potentially adding to negative sentiment about ethics review. (shrink)

The purpose of this study was to develop and test a model capturing the effects of ethics institutionalization on employee experiences in work life and overall life satisfaction. It was hypothesized that explicit ethics institutionalization has a positive effect on implicit ethics institutionalization, which in turn enhances employee experiences in work life. It was also hypothesized that employee work life experiences have a positive effect on overall life satisfaction and happiness, moderated by work–family life conflict. Data were collected though a (...) survey of marketing managers in Italy. The data provide good but partial support for the model. Theoretical and managerial implications are discussed. (shrink)

The study of the relationship between religion and health has grown substantially in the past decade. There is little doubt that religion plays an important role in many people's lives and that this has an impact on their health. The question is how researchers and clinicians can best evaluate the available information and how we can improve upon the current findings. In this essay we review the current knowledge regarding religion and health and also critically review issues pertaining to methodology, (...) findings, and interpretation of these studies. It is important to maintain a rigorous perspective with regard to such studies and also to recognize inherent limitations and suggest constructive ways in which to advance this field of study. In the end, such an approach can provide new information that will improve our understanding of the overall relationship between religion and health. (shrink)

Milton Friedman has argued that corporations have no responsibility to society beyond that of obeying the law and maximizing profits for shareholders. Individuals may have social responsibilities according to Friedman, but not corporations.When executives make contributions to address social problems in the name of the corporation, they are doing so with other people''s (shareholders'') money. The responsibility of corporate executives is a fiduciary one, to serve as an agent for the corporation''s shareholders, and to uphold shareholders'' trust, which requires executives (...) to maximize the return to their shareholders, who can then, if they choose, contribute their own money to worthy causes. (shrink)