In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music (...) educators all over the world to make their own decisions and ultimately contribute to the conversation themselves. (shrink)

This essay explores the contingency of music's value, and the significant ways that contingency qualifies our understandings of the utility of instructional method. More specifically, it raises the possibility that the altruistic pursuit of methodological purity may serve ends dramatically different than those espoused by practitioners. Music making, music study, and music learning may be liberating, empowering, and educational; but they may also serve precisely opposite ends. More simply put, neither music nor its study is unconditionally or inherently good. The (...) essay explores various ways nihilism may be manifest in musical/instructional practices, and advances alternatives grounded in agency, action, and the acceptance of resistance and responsibility. (shrink)

Designed to introduce music students and musicians to the vitality of music philosophical discourse, Philosophical Perspectives on Music explores diverse accounts of the nature and value of music. It offers an accessible, even-handed consideration of philosophical orientations without advocating any single one, demonstrating that there are a number of ways in which music may reasonably be understood. This unique approach examines the strengths and advantages of each perspective as well as its inevitable shortcomings. From the pre-Socratic Greeks to idealism, through (...) phenomenology, and on to contemporary socio-cultural critiques, this wide-ranging survey examines the views of selected influential thinkers in sufficient detail to permit their voices to be personally and meaningfully experienced. Striving to portray philosophy as an intriguing dialogue rather than a dogmatic source of definitive answers, it invites readers to become full participants in an ongoing process of philosophical debate with vital contemporary relevance and extensive practical significance. Examining what music is, how it works, and what music is good for, this book encourages musicians to join in important conversations that shape both the ways they practice their art and the ways in which they and others understand it. Accessible to students with little or no background in music philosophy, Philosophical Perspectives on Music provides the foundation for applied or professional philosophies while also introducing readers to the richness of the philosophical quest. Ideal for philosophy of music and philosophy of music education courses, it is also enlightening reading for students of musicology, music theory, and music performance. Featuring interdisciplinary dialogue, this insightful text addresses issues common to the concerns of all musicians. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Way of Music Education: Classic Chinese Wisdoms by C. Victor FungJui-Ching WangC. Victor Fung, A Way of Music Education: Classic Chinese Wisdoms (New York, Oxford University Press, 2018)The philosophical inquiry of music and music education has traditionally been limited to a Western lineage, primarily Greek civilization. Many prominent scholars of music education philosophy in the English-speaking world have long restricted their quests to the offspring of this (...) Western philosophy. Although music education scholars have urged a need for more than one "single philosophical foundation" for the field,1 not much has been done systematically to make up for this shortcoming until most recently when scholars such as Wayne Bowman, Ana Luciá Frega, Victor Fung, and Leonard Tan started to call for a more inclusive way of thinking to accommodate the "complexity, plurality, and change" in twenty-first century music education settings.2 To respond to this call, the primary contribution of A Way of Music Education: Classic Chinese Wisdoms is to provide an alternative for examining the phenomena of music teaching and learning by introducing classic Chinese philosophies, Yijing (the Book of Change), Confucianism, and Daoism to bridge the philosophical gap between the West and the East.This book is organized in three parts. Part I, Classical Chinese Philosophies and Music Educational Interpretations, consists of four chapters with the [End Page 116] fundamental background of each philosophy Fung adopts and its interpretation and application in music and music education. Part II, Complementarity and a Trilogy, contains four chapters that help explain how Yijing, Confucianism, and Daoism complement each other as a "harmonious triad," not only in their original context but also in the philosophical frame of contemporary music and music education. The two chapters in Part III, A New Way of Thinking and Practical Implications, discuss practical implications of these classic philosophical ideologies in music education. An epilogue calls for future research on more Chinese classics in both music education and other non-music fields as Fung believes that these rich classic wisdoms are transcendental in time and space, and thus can be experienced as a way of life that "champions the human spirit in relation to the ever-changing natural environment, material life, and social system."3 Lastly, to help readers unfamiliar with Chinese philosophy, a glossary defines the key Chinese terms in each chapter with original Chinese characters and English translations. In addition, flow charts and diagrams help readers visualize the application of complex classic Chinese principles to music education.Attempting to develop "a new way of thinking in music education,"4 Fung situates his inquiry in an "organismic worldview,"5 a way of examining oneself and his/her relation to all elements of the world, a common philosophical thread derived from ancient classic Chinese philosophies of Yijing, Confucianism, and Daoism. Transcending the long debate about the praxial philosophy and aesthetic philosophy of music education, Fung uses these Chinese philosophical principles to explain human musical behaviors first with an ontological lens. He then moves on to examine from a utilitarian perspective the significance of these musical behaviors as inseparable parts of the 'humanly human.' Carefully framing interpretations within the three Chinese classic philosophies, Fung uses a comparative method to scrutinize the meaning of music for human beings who practice it, to their social network (small or large), and to their natural environment. Fung's comparison of the similarities and differences of ancient Chinese principles concludes that "music and music education [are] part of the larger entities and phenomena that cut across time and space."6 Such comparison exemplifies the value of comparative philosophy in "acknowledging and appreciating differences in a realization of the complementarity of perspectives."7 As a result, Fung is able to complement ideas from the seeming contradiction between Confucianism's "human-centric" ideology and Daoism's "dao-centric" ideology to cleverly picture a more comprehensive way of music in education: because "these two schools are addressing different human needs…, they influence each other and provide momentum for each other."8Moreover, going beyond the "minor varieties of comparisons" within the Chinese classics, Fung challenges himself to a higher level of inquiry stretching [End Page 117] out to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Philip Alperson, “Robust Praxialism and the Anti-aesthetic Turn”Thomas A. RegelskiDue to space limitations, only a few points of Philip Alperson’s paper can be briefly addressed.1Concerning praxialism, Alperson confirms that regarding “music as a species of art” leaves out much of what music has to offer. He acknowledges that “music is produced and enjoyed in a wide range of contexts and circumstances in which music can be understood (...) as having many different kinds of functions” and that it “comprises a network of multiple overlapping and at times even conflicting sub-practices” worthy of preservation and transmission via education. Yet these diverse but central praxial functions have been ignored, even denigrated, by traditional aesthetics and music education philosophy predicated on aesthetics.In contrast, Alperson notes that praxial philosophy argues inductively from the empirical evidence of music’s many functional values. Thus, he argues, philosophical inquiry should start with the ample evidence of music’s praxial diversity instead of “attempting a totalizing account of the philosophy of music education based on some essentialized notion of music.” [End Page 196]Yet his “robust praxialism” is predicated on an essentialized notion: that music’s praxial appeal depends on its aesthetic essence. Despite frequent aesthetic qualifiers, he altogether fails to distinguish aesthetic experiences ontologically from prosaic experiences, aesthetic properties epistemologically from non-aesthetic properties, or aesthetic values from musical values or praxial benefits.2 Instead, he equivocates that “there are many ways to construe the idea of aesthetic experience and aesthetic qualities.”3Then he claims that, lacking aesthetic essentialism, the praxialism of David Elliott, Wayne Bowman, and Thomas Regelski fails to robustly account for why people are drawn to music.4 He ignores Elliott’s account of music’s capacity for eliciting affective experience and “flow”5 and fails to engage Bowman’s arguments against the philosophical imprecision of aesthetic theorizing. Against these straw-man tactics, I will briefly summarize why praxialism does without aesthetics.“Aesthetics” has traditionally been used to refer to (conflicting) theories of a transcendental, other-worldly ontology experienced contemplatively, via a disinterested aesthetic attitude, practiced competently by ideally informed listeners, in special moments of leisure. Praxialism eschews such metaphysical speculations and stresses music’s down-to-earth values, appeal, and pragmatic benefits. Thus, a more robust rationale and pragmatic basis for music education results that is intelligible to music teachers, students, and society.For praxial theory, meaning, value, and appreciation are seen in use. Following Wittgenstein, “we don’t start from certain words”—that is, from aesthetic terms— “but from certain occasions or activities”—respectively, from particular musical practices. “Appreciation” is thus shown empirically by people’s musical choices.6Secondly, praxialism dispenses with aesthetics because, as Alperson admits, the many terms, concepts, and speculative aporia7 upon which conventional aesthetics depends are irreparably contested.8 Aestheticians agree on just about nothing!9 In fact, Alperson himself critiques the leading schools of aesthetics. However, analytic philosophers increasingly have noted the problems of aesthetics; 10 have criticized aesthetics for lacking philosophical substance and rigor;11 and one concludes that, “viewed as a univocal concept, aesthetic experience seems too confused to be redeemed as useful”12 and thus deserves critique.13Concerning the relevance of aesthetics, Christopher Small writes of a history of musical aesthetics:14[I]t bore very little relation to anything I recognized in my own musical experience, as listener, or as performer, or as composer.... I just could not make myself believe that so universal, and so concrete a human practice as music should need such complicated and abstract explanations.15 [End Page 197]Philosopher Michael Proudfoot agrees thatsuch an inadequacy to our experience of art has been evident, a result, I believe, partly of aestheticians’ preoccupation with what it is to treat something ‘aesthetically’, and partly from a concentration on works of art in isolation from the circumstances in which they are actually created or appreciated.16Alperson does acknowledge music’s praxial circumstances, but argues that “it is possible to save the idea of aesthetic experience and the attitude appropriate to its contemplation by widening the range of what might be thought to be a candidate for appreciation... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Michael L. MarkPatrice Madura Ward-SteinmanI met Michael Mark at the first Philosophy of Music Education conference held at Indiana University in the summer of 1990. I was a doctoral student at IU then and had studied the writings of many of the conference presenters and so the experience of hearing and meeting them in person was a heady one, indeed. I will never forget those impressions of Phil Alperson, (...) Wayne Bowman, Allen Britton, David Elliott, Peter Kivy, Gerard Knieter, Thomas Regelski, Bennett Reimer, John Shepherd, Ann Stokes, Eleanor Stubley, Keith Swanwick, and many others.I was interested in meeting Michael after hearing his response to the presentation of one of my favorite IU professors of musicology, Austin Caswell. Caswell’s provocative paper, “How We Got into Canonicity and What it has Done to Us: An American Music Historian’s View of Music in Academia,” claimed that “the effect of canonicity on American musical life is destructive,” while Michael’s response was characterized by his style of writing that I came to recognize over the decades as distinct, calm, logical, methodical, and based in an extraordinarily wide and deep wealth of historical knowledge. While I greatly admired my rebellious and passionate professor’s views and temperament which were not unlike my own, I also appreciated hearing Michael’s measured and thoughtful response. Thus began my friendship with Michael, who, I learned, was not only a professor [End Page 92] and dean at Towson State University but also an avid big band woodwind doubler who showed interest in my doctoral research in the art of vocal jazz improvisation. That friendship lasted for almost twenty-eight years and we enjoyed memorable reunions at other conferences. For example, there was the ISPME conference held at UCLA where he invited me to dinner with his good friend and connoisseur of fine wines, Bennett Reimer, and the ISPME conference in Helsinki where, after I tripped and severely broke my ankle, requiring surgery, Michael, Estelle Jorgensen, Iris Yob, and two then-doctoral students (Kasia Bugaj and Leonard Tan) visited me in the Helsinki hospital.When I began teaching at the University of Southern California in 1995, it was fortuitous that Michael’s brother, Brian, lived in the Los Angeles area. His frequent visits allowed him to make several guest lectures to my graduate research methods classes, very welcome opportunities. After one of those lectures, I relayed the history of my family’s ballroom in the Chicago area that was open for business with big band music from 1929 until 1967. He asked if I had any artifacts from Madura’s Danceland, and when I mentioned my father’s stacks of dusty record books, newsletters, photos, and posters in our basement, he became very enthusiastic and told me that I had a “gold mine” of an archive with which to write a book about the place! As a trained quantitative researcher, I began to explore the record books to analyze trends in band pay over the Depression and World War II years.1 Over the next ten years, with help from Michael’s regular prodding and encouragement, I organized the large archive into the history of Madura’s Danceland.2 I owe this personally important accomplishment to Michael Mark.Michael invited me (in his endearing way which I could not refuse) to coauthor a music education textbook with him3 and our writing partnership went so smoothly that he invited me to co-author the 4th edition of his Contemporary Music Education.4 Although our writing styles and areas of expertise were very different, I learned much from his narrative approach which included illustrative scenarios, interviews, and the informal use of contractions, a style of writing that was not second nature for me. We wrote both books without meeting in person, except to celebrate the publication of the first at the Metropolitan Art Museum café in New York with our beloved spouses, Lois Mark and David Ward-Steinman.Dr. Michael L. Mark will long be remembered for his many books, chapters, and articles on the history of music education and his many symposium presentations; for his university teaching and administrative achievements; and for his... (shrink)

This discussion paper considers how seldom recognised theories influence clinical ethics committees. A companion paper examined four major theories in social science: positivism, interpretivism, critical theory and functionalism, which can encourage legalistic ethics theories or practical living bioethics, which aims for theory–practice congruence. This paper develops the legalistic or living bioethics themes by relating the four theories to clinical ethics committee members’ reported aims and practices and approaches towards efficiency, power, intimidation, justice, equality and children’s interests and rights. Different approaches (...) to framing ethical questions are also considered. Being aware of the four theories’ influence can help when seeking to understand and possibly change clinical ethics committee routines. The paper is not a research report but is informed by a recent study in two London paediatric cardiac units. Forty-five practitioners and related experts were interviewed, including eight members of ethics committees, about the work of informing, preparing and supporting families during the extended process of consent to children’s elective heart surgery. The mosaic of multidisciplinary teamwork is reported in a series of papers about each profession, including this one on bioethics and law and clinical ethics committees’ influence on clinical practice. The qualitative social research was funded by the British Heart Foundation, in order that more may be known about the perioperative views and needs of all concerned. Questions included how disputes can be avoided, how high ethical standards and respectful cooperation between staff and families can be encouraged, and how minors’ consent or refusal may be respected, with the support of clinical ethics committees. (shrink)

Grennan bases his evaluation of arguments on two criteria: logical adequacy and pragmatic adequacy. He asserts that the common formal logic systems, while logically sound, are not very useful for evaluating everyday inferences, which are almost all deductively invalid as stated. Turning to informal logic, he points out that while more recent informal logic and critical thinking texts are superior in that their authors recognize the need to evaluate everyday arguments inductively, they typically cover only inductive fallacies, ignoring the inductively (...) sound patterns frequently used in successful persuasion. To redress these problems, Grennan introduces a variety of additional inductive patterns. Concluding that informal logic texts do not encourage precision in evaluating arguments, Grennan proposes a new argument evaluation procedure that expresses judgments of inferential strength in terms of probabilities. Based on theories of Stephen Toulmin, Roderick Chisholm, and John Pollock, his proposed system allows for a more precise judgment of the persuasive force of arguments. (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)

The exercise of judgement is an aspect of human endeavour from our most mundane acts to our most momentous decisions. In this book Wayne Martin develops a historical survey of theoretical approaches to judgement, focusing on treatments of judgement in psychology, logic, phenomenology and painting. He traces attempts to develop theories of judgement in British Empiricism, the logical tradition stemming from Kant, nineteenth-century psychologism, experimental neuropsychology and the phenomenological tradition associated with Brentano, Husserl and Heidegger. His reconstruction of vibrant (...) but largely forgotten nineteenth-century debates links Kantian approaches to judgement with twentieth-century phenomenological accounts. He also shows that the psychological, logical and phenomenological dimensions of judgement are not only equally important but fundamentally interlinked in any complete understanding of judgement. His book will interest a wide range of readers in history of philosophy, philosophy of the mind and psychology. (shrink)

Much of the the discussion of the metaphysics of quantum mechanics focusses on the status of wavefunctions. This paper is about how to think about wavefunctions, when we bear in mind that quantum mechanics—that is, the nonrelativistic quantum theory of systems of a fixed, finite number of degrees of freedom—is not a fundamental theory, but arises, in a certain approximation, valid in a limited regime, from a relativistic quantum field theory. We will explicitly show how the wavefunctions of quantum mechanics, (...) and the configuration spaces on which they are defined, are constructed from a relativistic quantum field theory. Two lessons will be drawn from this. The first is that configuration spaces are not fundamental, but rather are derivative of structures defined on ordinary spacetime. The second is that wavefunctions are not as much like classical fields as might first appear, in that, on the most natural way of constructing wavefunctions from quantum field-theoretic quantities, the value assigned to a point in configuration space is not a local fact about that point, but rather, depends on the global state. (shrink)

This article examines nanotechnology within the context of the public interest. It notes that though nanotechnology research and development investment totalled US$9.6 billion in 2005, the public presently understands neither the implications nor how it might be best governed. The article maps a range of nanotechnology dialogue activities under way within the United Kingdom, the United States, Germany, and Australia. It explores the various approaches to articulating public interest matters and notes a shift in the way in which these governments, (...) on the whole, appear to be attempting to manage nanotechnology “risks.” It argues that open and transparent policy deliberations and extensive public discourse will be pivotal to protecting the public interest, gaining public trust and acceptance of nanotechnologies. The article concludes that though governing emerging technologies in the public interest is not a new concept, nanotechnology does present additional challenges that must be addressed by the guardians of the public interest. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Communities of Musical Practice by Ailbhe KennyFrank HeuserAilbhe Kenny Communities of Musical Practice ( New York: Routledge, 2016)When struggling in the confines of a practice room to overcome a technical difficulty on an instrument or explore different ways to shape a phrase, music learning can be a solitary and seemingly lonely enterprise. In such settings it is easy to assume that personal effort is the primary contributor to (...) an individual's musical expertise. Cognitive scientists steven sloman and Philip Fernbach1 argue against this view of human learning and suggest that much of what we know and accomplish results from working and living with others in a rich community of socially generated knowledge rather than by relying only on own efforts. This implies that the ability to develop sophisticated understandings in a discipline depends more on working collectively with others with whom we can share the labors of our cognitive efforts than on individual processes. This lends credence to the concept of learning in "communities of practice" that emerged during the 1990s.2Researchers have embraced this concept in music education and investigated the learning and relationships that develop in musical communities. June Countryman3 and N. Whitaker4 both examined how such communities impact learners in school-based music instructional settings. Deborah V. Blair developed [End Page 214] a professional development program for novice music educators that evolved into a community of practice.5 such communities offer members a place for identity formation and facilitate the acquisition of new knowledge in the discipline that is refined through active participation in meaningful learning experiences. In her book, Communities of Musical Practice, Ailbhe Kenny examines three music learning communities based in Limerick, Ireland and develops a model for community of practice that is specific to musical settings. This model can inform researchers investigating the fields of music education and community music. although it was not designed as a study in music education philosophy, the book is an example of excellent philosophical practices. as Wayne Bowman and ana Lucia Frega have suggested, if philosophy seeks to make "action more intelligent, more informed, more congruent with responsibly held beliefs,"6 Communities of Musical Practice offers a case study of the kind of reflective thinking that is central to philosophical practice. It is an example of how applying a reflective process to research data might provide the profession with both practical and philosophical insights.The book consists of seven chapters which are divided into three major sections. Part I, a Place for Communities of Musical Practice, defines communities of musical practice and describes the methodologies employed in the study. Part II, Illustrations of Communities of Musical Practices, offers case studies of three communities of musical practice that provide readers with examples of how the paradigm can be applied to investigate contrasting settings. Part III, Insights from Communities of Musical Practice, which summarizes the communities of musical practice framework, presents a model of how collective knowledge through common experiences contributes to senses of belonging, identity, and meaning-making and offers suggestions for nurturing these communities and developing policies that might contribute to increasing group music-making opportunities in communities. Following a review of these chapters, examples are given of how philosophical insights might be derived from this type of research.The central research question informing the work presented in the book is: How are communities of musical practice developed and sustained in practice?"7 This fundamental issue is refined through a series of sub-questions relating to the actual practices taking place within these communities of musical practices, the variety of relationships, actions, behaviors and experiences that are present within them, and the ways musical identities are created within and informed through participation in them. In Part I, Kenny develops a theoretical framework for examining communities of music practice by drawing from philosophy of practice, socio-cultural studies, and research in both education and music education which is based primarily on the writings of Bourdieu, Blacking, and Wenger. In particular, she employs etienne Wenger's framework of mutual engagement, [End Page 215] joint enterprise, and shared repertoire (or practices)8 as a scaffold to analyze and interpret "'situated' and collaborative musical... (shrink)

Le but de Pierre Hadot en développant la notion de philosophie ancienne comme « exercice spirituel » était de fournir une solution de rechange à la religion. Dans cette perspective, Hadot rend le triomphe de la chrétienté et de la scolastique médiévale, exemplifié par Thomas d’Aquin, responsable de la « perte de la philosophie comme manière de vivre ». Le jugement qu’il porte sur Thomas d’Aquin s’applique également au néoplatonisme ancien. Or, de fait, pour les deux il n’y a rien (...) d’abstrait dans la théorie de la philosophie comme ascension vers Dieu : la philosophie est une manière de vivre qui nous transforme et nous tourne vers le divin. Comme son prédécesseur néoplatonicien, l’Université médiévale considérait la philosophie comme un « exercice spirituel » dans le cadre d’une spiritualité chrétienne qui préparait aussi les intellectuels à une félicité surnaturelle. (shrink)

The framework of plateaus, dips, and leaps shines light on periods when individuals may be inventing new methods of skilled performance. We begin with a review of the role performance plateaus have played in experimental psychology, human–computer interaction, and cognitive science. We then reanalyze two classic studies of individual performance to show plateaus and dips which resulted in performance leaps. For a third study, we show how the statistical methods of Changepoint Analysis plus a few simple heuristics may direct our (...) focus to periods of performance change for individuals. For the researcher, dips become the marker of exploration where performance suffers as new methods are invented and tested. Leaps mark the implementation of a successful new method and an incremental jump above the path plotted by smooth and steady log–log performance increments. The methods developed during these dips and leaps are the key to surpassing one's teachers and acquiring extreme expertise. (shrink)

Tasks, tools, and techniques that we perform, use, and acquire, define the elements of expertise which we value as the hallmarks of goal-driven behavior. Somehow, the creation of tools enables us to define new tasks, or is it that the envisioning of new tasks drives us to invent new tools? Or maybe it is that new tools engender new techniques which then result in new tasks? This jumble of issues will be explored and discussed in this diverse collection of papers. (...) Individually, few of the papers are related to each other by topic or by techniques of analysis. Collectively, all focus on tasks performed using tools and discuss the techniques of tool use which enable differences in performance and expertise across individuals, societies, and (even) species. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education for the New Millennium: Theory and Practice Futures for Music Teaching and LearningSean PenderelMusic Education for the New Millennium: Theory and Practice Futures for Music Teaching and Learning, edited by David K. Lines. Malden, MA: Blackwell Publishing, 2005, 150 pp., $34.95 paper.Music Education for the New Millennium is a 150-page collection of essays focused mainly upon philosophical introspection into the current condition of the profession. Within (...) this volume there are eight philosophic essays and one quantitative research article, by Alastair McPhee, Peter Stollery, and Ros McMillan. Other essays, beyond the work of the editor, were contributed by Thomas Regelski, Wayne Bowman, Robert Davis, Lucy Green, David Elliott, Constantijn Koopman, and Janet Mansfield. This collection contributes to our contemporary quandaries about aesthetics and praxialism in addition to adding pertinent questions for both philosophy and music education.The overall purpose of this volume is to stimulate thinking in ways not accounted for in the classroom or studio environments and expand upon the broader discourses impacting the profession and society (3). Given that Lines organized this volume as a collection about a specified theme, I will approach this review threefold. First, I will examine overall features that were promising and those that were disappointing. Second, each chapter's contributions will be examined in light of the aim of the volume. Lastly, each essay will also be examined for its contributions apart from the volume, due to the fact that all of the works can stand alone.Within this framework, six themes continually emerged throughout the essays. These themes involved the use and abuse of musical meaning; the construction of musical meaning and understanding; language used within advocacy; the difficulties presented by both aesthetics and praxialism; the problems posed by our focus upon psychology; and lastly, the "what works" mentality of efficient systems. These themes are incredibly relevant to the contemporary discussion surrounding music education in addition to benefiting the whole of the profession. In some fashion or another, each author confronts one to many of these issues efficiently and effectively, to the point that the volume and its aim is solidified within Bowman's essay, "Music Education in Nihilistic Times." As a negative point, however, an internal organization around these themes never seems to appear, and without this the volume lacks a certain flow; each chapter stands alone. Although internal organization is petty globally for this volume, it does affect its readability.Regelski's essay appears first and critiques both traditional aesthetics and praxial philosophy. Interestingly, he weighs the potential dangers posed by both and drifts toward the notion of praxis while maintaining a certain aesthetic influence within his philosophy. Through music education's abuse of aesthetics, Regelski chronicles the elevation of experience beyond societal values of participation, production, and the process of music creation. Due to this, the profession has been subject to a certain dependency upon the positive aesthetic experience rather than on the participatory process of education. Furthermore, he notes that aesthetics, when stretched to its philosophic extreme, has had a tendency to become exclusive and elitist. I liken [End Page 117] this to the Gnostic practices within early Christianity. This sect valued a spiritual/aesthetic experience and its resulting "enlightenment," which occurred during a state of ecstasy, to the point of elevating those who had experienced this moment beyond those who had not.To curb this movement, Regelski suggests redefining aesthetics in the tradition of Dewey and Wittgenstein rather than that of Kant. In the former, the aesthetics are tied directly to the using of the object, or the practice of doing and creating. In contrast, in the Kantian tradition, which has dominated music philosophy, the experience becomes removed from the practice and is elevated to a position of esteem, beyond that of understanding. Likewise, praxialism, when taken to its extreme, has the potential to suffer from breadth without depth, which may result in a loss of content and depth of understanding. Regelski suggests that what needs to occur is a balance of depth and breadth with a focus on the development of musicianship. If this occurs then the experience will become valued as a result of participation in the... (shrink)

Why games? How could anyone consider action games an experimental paradigm for Cognitive Science? In 1973, as one of three strategies he proposed for advancing Cognitive Science, Allen Newell exhorted us to “accept a single complex task and do all of it.” More specifically, he told us that rather than taking an “experimental psychology as usual approach,” we should “focus on a series of experimental and theoretical studies around a single complex task” so as to demonstrate that our theories of (...) human cognition were powerful enough to explain “a genuine slab of human behavior” with the studies fitting into a detailed theoretical picture. Action games represent the type of experimental paradigm that Newell was advocating and the current state of programming expertise and laboratory equipment, along with the emergence of Big Data and naturally occurring datasets, provide the technologies and data needed to realize his vision. Action games enable us to escape from our field's regrettable focus on novice performance to develop theories that account for the full range of expertise through a twin focus on expertise sampling and longitudinal studies of simple and complex tasks. (shrink)

This paper addresses the question of how we should regard the probability distributions introduced into statistical mechanics. It will be argued that it is problematic to take them either as purely ontic, or purely epistemic. I will propose a third alternative: they are almost objective probabilities, or epistemic chances. The definition of such probabilities involves an interweaving of epistemic and physical considerations, and thus they cannot be classified as either purely epistemic or purely ontic. This conception, it will be argued, (...) resolves some of the puzzles associated with statistical mechanical probabilities: it explains how probabilistic posits introduced on the basis of incomplete knowledge can yield testable predictions, and it also bypasses the problem of disastrous retrodictions, that is, the fact the standard equilibrium measures yield high probability of the system being in equilibrium in the recent past, even when we know otherwise. As the problem does not arise on the conception of probabilities considered here, there is no need to invoke a Past Hypothesis as a special posit to avoid it. (shrink)

We begin with the kinds of knowing and ignorance in Plato’s allegory of the Line in the Republic, and go on to the problem of the relation of human reason and divine intellection in Aristotle’s Metaphysics, I and XII, De anima, II and III, and, especially, Nicomachean Ethics X, 7 and 8. Plato and Aristotle do not establish the human firmly vis-à-vis the divine and leave the Platonic tradition with a deep philosophical, theological, and religious ambiguity. Passing to Boethius’ Consolation (...) of Philosophy and Aquinas in his Summa theologiae and Aristotelian commentaries, we consider how they take up the Platonic-Aristotelian problematic and define the human in relation to the divine, partly by way of the notion of participation which Aristotle rejected. Aquinas is the most determined humanist among the thinkers considered. After outlining features of his position, we conclude with reflections on medieval humanism. (shrink)

The standard means of seeking the classical limit in Bohmian mechanics is through the imposition of vanishing quantum force and quantum potential for pure states. We argue that this approach fails, and that the Bohmian classical limit can be realized only by combining narrow wave packets, mixed states, and environmental decoherence.

This paper provides an overview of the societal impact of a rising dementia population and examines the legal and ethical implications posed by voluntary registries as a community-oriented solution to improve interactions between law enforcement and individuals with dementia. It provides a survey of active voluntary registries across the United States, with a focus on Arizona, which has the highest projected growth for individuals living with dementia in the country.

This paper discusses the character of medical ethics and suggests that there are significant gaps that warrant greater attention. It describes ways in which the content and form of medical ethics may exclude or marginalise perspectives and contributions, thereby reducing its influence and its potential impact on, and value to, patients, students, carers and society. To consider what it is ‘to do good medical ethics’ suggests an active approach that seeks out, and learns from, contributions beyond the traditional boundaries of (...) scholarship. (shrink)

"Damned for God’s Glory": William James and the Scientific Vindication of Protestant Culture, by David A. Hollinger Pragmatism and "an Unseen Order" in Varieties, by Wayne Proudfoot The Fragmentation of Consciousness and The Varieties of Religious Experience: William James’s Contribution to a Theory of Religion, by Ann Taves James’s Varieties and the "New" Constructivism, by Jerome Bruner Some Inconsistencies in James’s Varieties, by Richard Rorty A Pragmatist’s Progress: The Varieties of James’s Strategies for Defending Religion, by Philip Kitcher.

Acquiring expertise in a task is often thought of as an automatic process that follows inevitably with practice according to the log‐log law (aka: power law) of learning. However, as Ericsson, Chase, and Faloon (1980) showed, this is not true for digit‐span experts and, as we show, it is certainly not true for Tetris players at any level of expertise. Although some people may simply “twitch” faster than others, the limit to Tetris expertise is not raw keypress time but the (...) techniques acquired by players that allow them to use the tools provided by the hardware and software to compensate for the game's relentlessly increasing drop speed. Unfortunately, these increases in drop speed between Tetris levels make performance plateaus very short and quickly followed by game death. Hence, a player's success at discovering, exploring, and practicing new techniques for the tasks of board preparation, board maintenance, optimal placement discovery, zoid rotation, lateral movement of zoids, and other tasks important to expertise in Tetris is limited. In this paper, we analyze data collected from 492 Tetris players to reveal the challenges they confronted while constructing expertise via the discovery of new techniques for gameplay at increasingly difficult levels of Tetris. (shrink)

In this chapter we theoretically analyse the most prominent emotional states that derive from postmodernity, and which, exacerbated by the Covid pandemic, affect individuals and societies. When differentiating emotions in their social aspect as either isolating or binding, it becomes apparent that isolating emotional states such as fear, mistrust and loneliness have been especially intense in this sociocultural situation. Due to their isolating character, they negatively affect social cohesion. We propose that the social fabric can be strengthened through relationships of (...) civic friendship, because this is based on the development of binding emotions (trust, empathy, care for well-being, and compassion, which are other-oriented emotions), as well as consisting of a bond of reciprocal good will between citizens. Without forgetting that, under certain conditions, it can also be a risk for social cohesion, civic friendship brings consistency to society, not only because of the kinds of binding emotions that it involves, but also because, being based on other-oriented emotions, it protects emotional rationality from emotionalism. (shrink)

Kant took up the issue of origin in the Metaphysical Deduction of the Categories. He sought to demonstrate that the concepts of metaphysics, considered in themselves, are mere logical functions, that is, ways of synthesizing concepts to form judgments Accordingly, the metaphysical concept of substance/accident contains nothing more than the logical form of subject/predicate, whereby any arbitrary pair of concepts may be united in a judgment; cause and effect merely the hypothetical form of judgment, whereby any arbitrary pair of judgments (...) may be united as condition and conditioned; totality the form of subordination of one concept to another whereby any species of the one has the other as its genus; and so forth. Logical functions are what remain after we abstract from all content of the concepts in a judgment; they are merely the various ways in which any concept, or judgment, may be combined with any other, and so are utterly devoid of objective sense or signification. More importantly, they comprise the totality of that which may be attributed to the understanding taken by itself, in isolation from the other faculties of the mind: sensibility, desire, and feeling. The understanding, for Kant, is the capacity to judge ; it is not, when considered without relation to other faculties, a faculty of concepts, rules, principles, or even categories. Indeed, if categories may be said to express any content at all, it is simply and solely the relation of the understanding to another faculty. In the case of sensibility--a faculty comprising the manifold of the senses and its synthesis in imagination--categories are obtained when this synthesis is represented universally and a priori, and so represent the "pure synthetic unity of the manifold in general." Similarly, the categories tabulated in the Critique of Practical Reason express the relation of the capacity to judge to the capacity of desire. Thus, aside from "their possibility as a priori cognitions of objects of an intuition in general," the categories of the first Critique are nothing over and above sheer logical forms, through which no objective necessary connection whatsoever can be thought; indeed, so entirely void of all content and objective import are they that even Hume almost certainly would have countenanced them. (shrink)

Background Non-invasive prenatal testing (NIPT), which can screen for aneuploidies such as trisomy 21, is being implemented in several public healthcare systems across Europe. Comprehensive communication and information have been highlighted in the literature as important elements in supporting women’s reproductive decision-making and addressing relevant ethical concerns such as routinisation. Countries such as England and France are adopting broadly similar implementation models, offering NIPT for pregnancies with high aneuploidy probability. However, we do not have a deeper understanding of how professionals’ (...) counselling values and practices may differ between these contexts. Methods In this paper, we explore how professionals in England and France support patient decision-making in the provision of NIPT and critically compare professional practices and values. We draw on data from semi-structured interviews with healthcare professionals. Results Both English and French professionals emphasised values relating to patient choice and consent. However, understandings and application of these values into the practice of NIPT provision differed. English interviewees placed a stronger emphasis on interpreting and describing the process of counselling patients and clinical care through a “principle” lens. Their focus was on non-directiveness, standardisation, and the healthcare professional as “decision-facilitator” for patients. French interviewees described their approach through a “procedural” lens. Their focus was on formal consent, information, and the healthcare professional as “information-giver”. Both English and French professionals indicated that insufficient resources were a key barrier in effectively translating their values into practice. Conclusion Our findings illustrate that supporting patient choice in the provision of NIPT may be held as an important value in common on a surface level, but can be understood and translated into practice in different ways. Our findings can guide further research and beneficially inform practice and policy around NIPT provision. (shrink)

The article by Professor Fiester (2015) expresses concern about the long-term moral distress or negative moral emotions, both aspects of moral residue, that linger in some stakeholders’ experiences...