In the world of Philosophy for Schools, Dr Phil Cam requires no introduction. As stated in a recent edition of 'Journal of Philosophy in' 'Schools' that was dedicated to celebrating his work, ‘Philip Cam is an international authority on philosophy in schools who has been a pioneer in introducing philosophy and ethics into schools in Australia’'. Very simply, when Cam talks about P4C, people listen. As a result, I was hugely excited to receive a copy of his latest book (...) 'Philosophical Inquiry: Combining the Tools of Philosophy with Inquiry-Based Teaching and Learning'. The book forms part of a new series of philosophical books entitled 'Big Ideas for Young Thinkers', published by Rowman and Littlefield. The series is edited by Thomas E Wartenburg, who himself is a hugely significant figure in P4C. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis by Thomas A. RegelskiRoger MantieThomas A. Regelski, A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (New York: Routledge, 2016)ANSWERS WITHOUT QUESTIONSThomas Regelski has earned a place as a major figure in music education, if for no other reason than his role as co-convener of the MayDay Group (...) in 1993. Regelski’s contributions to the profession, however, go much beyond the MayDay Group. His many books and articles provide both practical advice and suggestions for music teachers as well as rigorous discussions of important issues for scholars. He is among the most frequently cited authors in music education today and I count myself among those who have been deeply impacted by his work.1Those familiar with Regelski’s oeuvre and the history of the MayDay Group know that “praxial philosophy” has been his central concern since the early 1990s. The idea of praxialism, a term more or less invented by a small group of music education academics,2 has been driven, at least in part, by a desire to counter what has been considered (by some) to be the music education profession’s misguided adherence to and emphasis on “music education as aesthetic education,” particularly as an outgrowth of its Charles Leonard-Bennett Reimer [End Page 213] lineage.3 Along with contemporaries Philip Alperson, Wayne Bowman, and David Elliott (among others), Regelski has been a major voice in adopting and adapting ancient Greek (especially Aristotelean) thought in order to challenge the presupposition, predominant in twentieth-century academic discourse, that a (or the) philosophy of music education should unquestioningly derive from philosophies of art or aesthetics. Through the deployment of concepts such as theoria, techne, poiesis, phronesis, and especially, praxis, Regelski has, along with a cadre of like-minded thinkers, attempted, in the tradition of Christopher Small, to encourage educators to place greater emphasis on the social aspects of music making rather than on the so-called “aesthetic properties” of the music itself. For almost three decades, Regelski has been consistent, if not relentless in his promotion of all things “praxial.”A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (hereafter A Brief Introduction) comprises seven short chapters. The first three (Part One: Ideology Critique) provide an historical, if editorialized, overview of the history of aesthetics, from its ancient Greek origins in aisthesis to what Regelski calls today’s “aesthetic rationale” for music education. The last four chapters (Part Two: Theory into Praxis and Praxis Informed by Theory) provide arguments for why a praxial philosophy provides a superior basis for music education, along with illustrations of what music teaching based on praxialism might look like in practice. Readers already acquainted with Regelski’s previous writings are unlikely to find anything new in A Brief Introduction. Many of the book’s themes, such as “automania,” “sacrilization of music,” “legitimation crisis,” “pragmatic difference,” “action learning,” and “breaking 100” will be familiar to those who have read his essays over the years. A Brief Introduction, however, is not intended for those already familiar with his previous writings, but for newcomers, such as upper level undergraduates, for whom A Brief Introduction provides, as the title appropriately suggests, a succinct summary of his ideas distilled into just over a hundred pages. Rather than a stand-alone textbook, Regelski imagines the book as a “complement” to other courses, such as introductory classes in music education, conducting classes, instrumental method courses, and so on. Although not stated explicitly, much of the book’s content is relevant primarily (though perhaps not exclusively) for an American/Canadian readership.Regelski explains from the outset that the ideas in the book “are intended as a corrective to current practices and traditions in music teaching” (xx), ones he considers based upon and reflective of “aesthetic ideology.” As he explains, he wishes to operate in the tradition of Critical Theory, where ideology means the imposition of a dominant group’s values over a subordinate group. Although he never discusses processes of social reproduction, established norms and practices [End Page 214] in institutional... (shrink)

Evolutionary change is opportunistic, but its course is strongly constrained in several fundamental ways. These constraints (historical/phylogenetic, functional/adaptive, constructional/morphogenetic) and their dynamic relationships are discussed here and shown to constitute the conceptual framework of Constructional Morphology. Notwithstanding recent published opinions which claim that the discovery of constraints renders Neodarwinian selection theory obsolete, we regard the insights of Constructional Morphology as being entirely consistent with this theory. As is shown here in the case of the Hyracoidea, formal analysis of the constraints (...) which have framed the evolution of various characters extends our understanding of the evolution of a taxon. (shrink)

In his important paper "1953 and All That: A Tale of Two Sciences" (1984), Philip Kitcher defends biological antireductionism, arguing that the division of biology into subfields such as classical and molecular genetics is "not simply... a temporary feature of our science stemming from our cognitive imperfections but [is] the reflection of levels of organization in nature" (p. 371). In a recent discussion of Kitcher's views, Alexander Rosenberg has argued, first, that Kitcher has shown that the reduction of classical (...) to molecular genetics is impossible only because of our intellectual limitations and, second, that this kind of antireductionism supports an instrumentalist approach to biological theory. I argue that both of Rosenberg's claims should be rejected despite the fact that Kitcher misdiagnoses the central reason for the failure of reduction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.3 (2003) 420-421 [Access article in PDF] Philip de Bary. Thomas Reid and Scepticism: His Reliabilist Response. New York: Routledge, 2002. Pp. xv + 203. Cloth, $90.00.Readers of Thomas Reid's An Inquiry into the Human Mind and his two Essays have long been puzzled by the philosophical purchase of his appeal to the principles of common sense. Writing in 1765, (...) an anonymous correspondent in the Monthly Review complained that Reid's use of the term "common sense" lacked precision, while Joseph Priestley claimed in 1774 that in the Inquiry Reid referred to no fewer than thirteen principles of common sense. According to Priestley, this proliferation of what he called "independent, arbitrary, instinctive principles" demonstrated that Reid had failed to capture the simplicity inherent in human nature, and consequently that Reid's system had to be rejected for methodological as well as empirical reasons. Reid was then attacked by an unidentified English critic for having ostensibly plagiarized the writings of Claude Buffier, while Kant famously affirmed in the preface to the Prolegomena to Any Future Metaphysics that Reid had completely missed the point of Humean scepticism, and that his invocation of common sense was little more than philosophical obfuscation. Further debate followed the publication of Reid's Essays on the Intellectual Powers of Man in 1785, with reviewers in the English and Critical Review challenging his account of our power of judgement and of the first principles of human reasoning. Even Dugald Stewart believed that Reid's use of the term "common sense" was ambiguous, and opted to reformulate Reid's ideas in terms of what Stewart called the "fundamental laws of human belief." Both friend and foe alike, therefore, found Reid's notion of common sense problematic, and the critical discussion of this feature of his writings continued unabated throughout the nineteenth century.In Thomas Reid and Scepticism, Philip de Bary is largely silent about this earlier literature and engages with the body of commentary on Reid's common sense epistemology written in the latter half of the twentieth century by such philosophers as Roger Gallie, Louise Marcil-Lacoste, Keith Lehrer, and Daniel Schulthess. De Bary's starting point is of a piece with his approach to the history of philosophy, for in his introduction he tells us that he will keep "the main focus of the discussion on those aspects of Reid's philosophy for which some direct contemporary relevance can be claimed" (2). Consequently, his interpretation of Reid's writings is primarily orientated toward current epistemological debates and he more or less ignores the details of Reid's historical context and the long tradition of critical commentary sketched above. Indeed, de Bary is not overly concerned with niceties of history because he sets out to "do 'history of philosophy' as philosophy rather than as history" (2). While this review is not the place to discuss the coherence of the enterprise thus described in any depth, de Bary can be seen as constructing a false dichotomy between philosophical and historical analysis and as overlooking the point that the study of the history of philosophy requires a firm grasp of both historical context and the intellectual issues at hand. Moreover, it would seem that if we genuinely want to learn from history, then we need to understand the thoughts and actions of historical actors in their own [End Page 420] terms rather than simply project our own problems onto the past. This means that our readings of texts must be rooted in the knowledge of their contexts, otherwise we run the risk of anachronism or worse.Such general worries notwithstanding, Thomas Reid and Scepticism provides a useful introduction to some of the major themes in Reid's philosophical works. At his best, de Bary displays many of the same virtues as Reid as a thinker. He is by turns patient, clear, and insightful, and he has many interesting things to say, even if the historical ground of his interpretation of Reid is occasionally shaky. In the course of the book he... (shrink)

Volume 20, Issue 1, April 2024, Page 1-12.

A few years ago, Bas van Fraassen reminded philosophers of science that there are two central questions that a theory of explanation ought to answer. First, what is a explanation—when has something been explained satisfactorily? Second, why do we value explanations? . For a long time, discussions of explanation concentrated on technical problems connected with the first of these questions, and the second was by and large ignored. But, in fact, I think it is the second question which raises the (...) more fundamental and interesting philosophical issues. I shall offer reasons for thinking that the answer to the first question requires acceptance of the sort of fullblown notion of causation that only a scientific realist can love, and that the answer to the second question requires a realist construal of scientific theories and scientific methodology. My argument will be mainly negative, surveying the problems facing some major alternative accounts of explanation. A full elaboration of the realist perspective will have to await the completion of work in progress. (shrink)

The more than 40 readings in this anthology cover the most important developments of the past six decades, charting the rise and decline of logical positivism ...

The Many Faces of Patriotism debate the consequences of the 21st century's patriotic resurgence, examining it both in theoretical and comparative terms that draw on examples of patriotism from ancient Greece to post-apartheid South Africa.

A growing literature testifies to the persistence of place as an incorrigible aspect of human experience, identity, and morality. Place is a common ground for thought and action, a community of experienced particulars that avoids solipsism and universalism. It draws us into the philosophy of the ordinary, into familiarity as a form of knowledge, into the wisdom of proximity. Each of these essays offers a philosophy of place, and reminds us that such philosophies ultimately decide how we make, use, and (...) understand places, whether as accidents, instruments, or fields of care. (shrink)

The transformative university is a reflective and critical university that attempts to transform the world so as to live under democratic values of freedom, inclusion, equality and justice. It is a...

Key ideas in the work of Michel Foucault are explored and applied to the organized pursuit of knowledge in higher education. His association of power and knowledge accounts for deeply rooted practices in higher education that would need to be mediated or overcome for there to be a revolution in inquiry to occur, such as the one advanced by Nicholas Maxwell. Foucault’s concepts of disciplinary power and bio-power, and how they act to manage the behavior of free citizens, are described. (...) These concepts are then applied to free inquiry, to show how the activity of individual inquirers is managed and how critical inquiry is controlled. The management of inquiry involving four norms, two of them intrinsic to inquiry and the other two extrinsic, is explained. The potential of Foucault’s concept of discursive formations is introduced as a means of reconceiving inquiry to overcome these impediments to a revolution in inquiry. (shrink)

We extend the work of Ivancovsky et al. by proposing that in addition to novelty seeking, mood regulation goals – including enhancing positive mood and repairing negative mood – motivate both creativity and curiosity. Additionally, we discuss how the effects of mood on state of mind are context-dependent (not fixed), and how such flexibility may impact creativity and curiosity.

Much of Thomas Hobbes's work can be read as historical commentary, taking up questions in the philosophy of history and the rhetorical possibilities of written history. This collection of scholarly essays explores the relation of Hobbes's work to history as a branch of learning.

In two studies, we explored the frequency and phenomenology of musical imagery. Study 1 used retrospective reports of musical imagery to assess the contribution of individual differences to imagery characteristics. Study 2 used an experience sampling design to assess the phenomenology of musical imagery over the course of one week in a sample of musicians and non-musicians. Both studies found episodes of musical imagery to be common and positive: people rarely wanted such experiences to end and often heard music that (...) was personally meaningful. Several variables predicted musical imagery, including personality, musical preferences, and positive mood. Musicians tended to hear musical imagery more often, but they reported less frequent episodes of deliberately-generated imagery. Taken together, the present research provides new insights into individual differences in musical imagery, and it supports the emerging view that such experiences are common, positive, and more voluntary than previously recognized. (shrink)