Additive theories of rationality, as I use the term, are theories that hold that an account of our capacity to reflect on perceptually-given reasons for belief and desire-based reasons for action can begin with an account of what it is to perceive and desire, in terms that do not presuppose any connection to the capacity to reflect on reasons, and then can add an account of the capacity for rational reflection, conceived as an independent capacity to ‘monitor’ and ‘regulate’ our (...) believing-on-the-basis-of-perception and our acting-on-the-basis-of-desire. I show that a number of recent discussions of human rationality are committed to an additive approach, and I raise two difficulties for this approach, each analogous to a classic problem for Cartesian dualism. The interaction problem concerns how capacities conceived as intrinsically independent of the power of reason can interact with this power in what is intuitively the right way. The unity problem concerns how an additive theorist can explain a rational subject's entitlement to conceive of the animal whose perceptual and desiderative life he or she oversees as ‘I’ rather than ‘it’. I argue that these difficulties motivate a general skepticism about the additive approach, and I sketch an alternative, ‘transformative’ framework in which to think about the cognitive and practical capacities of a rational animal. (shrink)

I show how a notion of the political as emerging reality which does not derive from any other logic — as a phenomenon devoid of foundations, of predetermined elements — features in Habermas’s theory of society. There is certainly nothing obvious about such a claim, insofar as the political is conceived, across his entire oeuvre, in relation to the public sphere, which is presented as a social space in which the functions and properties he attributes to language in general are (...) made explicit and catalysed. It appears the public sphere coincides with the constitutive rules of universal pragmatics. More generally, the motif of the public sphere is bound up with topics which all curb the political “mode” — i.e., the validity attributed to political statements (1), the weight given, in myriad ways, to morality in the public sphere (2), and the concern to preserve science and complexity no matter what (3). I examine each one in turn, in order to demonstrate how, precisely, through the limits imposed on them, they enable us to grasp the specificity of the public sphere as political instance and, from this basis, identify a place for the political in Jürgen Habermas’s theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Myth, Song, and Music Education:The Case of Tolkien's The Lord of the Rings and Swann's The Road Goes Ever OnEstelle R. Jorgensen (bio)In this article I explore how myth and song intersect in J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King—and Donald Swann's song cycle setting of Tolkien texts, The Road Goes Ever On.1 (...) In so doing I am drawn back to Tolkien's The Hobbit, the novel from which The Lord of the Rings grew,2 and in the way of myth, I go back to the beginning to see what is there. After sketching some important themes in The Hobbit and The Lord of the Rings, and commenting as I go on Swann's musical setting of Tolkien's poems,3 I note several implications for music education.Why this particular tale? There are several reasons for my interest. Penned as a novel a half century ago, it was reborn at the turn of the twenty-first century in a widely circulated and highly acclaimed film trilogy. Its pagan and northern European roots are likewise intriguing, pointing back to a distant and imagined past. This extended historical tale can be seen as an epic journey in the genre of The Iliad and Beowulf.4 Such stories of other times were often sung as well as spoken, and Albert Lord describes the process whereby the telling and retelling of stories would be accommodated to the needs and interests of listeners, all of whom could be presumed to more or less know the story and identify with its characters.5 In a mass-mediated and technologically driven society in which attention is often focused on the present, evocations of the past fill a human need to know, individually and collectively, the story of how we came to be here. They prompt important philosophical questions such as those regarding the nature of good and [End Page 1] evil, ways to live a happy life, the role of supernatural events in human existence, and our responsibility to technology and the environment. And when studied in the context of a song cycle, we may better understand how myth and song intersect and be able to better reflect on what can be learned from this intersection for music education and its place in general education.Swann's song cycle evokes the cyclical journeys undertaken by Bilbo and Frodo, beginning with a party at home and ending triumphantly at home, although their pilgrimages generate yet others as ends become new beginnings. There is no end to this story; its beginning culminates yet others chronicled in The Hobbit and The Silmarillion, and its end commences another tale yet to be told. The rings in Tolkien's novel are figurative of these cycles: three rings for the elves, seven rings for the dwarves, and nine for mortal men. Bilbo's ring chronicled in The Hobbit is unveiled in The Lord of the Rings as the strategically most powerful one. Numerology, or the ancient study of numbers and their mythic significance, serves as a frame for the dense narrative that follows in Tolkien's texts. Swann sets a song cycle comprised of six songs, offering yet another number (whether intentional or not) in counterpoint to Tolkien's.The HobbitWithin this narrative are to be found various mythic qualities: a pilgrim on a quest, the band of travelers bound together in friendship by a common objective, the climactic but eventually successful journey, the struggle between good and evil, the crucial role of elemental natural forces and the interventions by powerful supernatural persons and forces in shaping events, the blurring of the natural and supernatural worlds, the inevitable tests that must be overcome in order to achieve the journey's objectives, the frailties of character demonstrated by the protagonist and his fellows, and the transformative quality of the journey on all those who undertake it.6 The action is set at a particular time and in a particular place with its own languages and kinds of writing (including runes or archaic angular writing that... (shrink)

With the COVID-19 pandemic, governments implemented successive lockdowns that forced employees to work from home to contain the spread of the coronavirus. This crisis raises the question of the effects of mandatory work from home on employees’ well-being and performance, and whether these effects are the same for all employees. In the present study, we examined whether working at home may be related to intensity, familiarity with WFH, employees’ well-being and creativity. We also examined whether the psychological profile of employees, (...) combining preference for solitude and associated personality variables from the Big Five, may influence the effects of WFH. The data were collected via an online survey from November 13th to December 15th 2020 among 946 employees from various organizations during the second lockdown in France. In addition to identifying two distinctive psychological profiles for employees having to WFH, results revealed that those with a “Solitary” profile reported higher loneliness at work, higher levels of stress, and lower levels of job satisfaction and work engagement than those with an “Affiliative” profile. It was also found that employees with a “Solitary” profile perceived themselves as less creative and produced objectively fewer ideas than individuals with an “Affiliative” profile. The present study suggests the necessity to distinguish the profiles of teleworkers and to offer a stronger support for the less affiliative employees when working from home. (shrink)

Carnal Knowledge is an outcome of the renewed energy and interest in moving beyond the discursive construction of reality to understand the relationship between what is conceived of as reality and materiality, described as the "material turn." It draws together established and emerging writers, whose research spans dance, music, film, fashion, design, photography, literature, painting and stereo-immersive VR, to demonstrate how art allows us to map the complex relations between nature and culture, between the body, language and knowledge. These writings (...) are unique in the field because they represent the authors' commitment to a new materialism through the creative arts. The questions they address include: Does the material turn in the creative arts take a different turn from continental epistemology, philosophy and the humanities? How does the agency of matter, the material nature of artistic practice and the notion of "truth to materials" affect what we understand as the "new materialism?" In engaging with these questions the book offers perspectives on the emergence of this exciting fresh field of new materialism. (shrink)

I distinguish two ways of explaining our capacity for ‘transparent’ knowledge of our own present beliefs, perceptions, and intentions: an inferential and a reflective approach. Alex Byrne (2011) has defended an inferential approach, but I argue that this approach faces a basic difficulty, and that a reflective approach avoids the difficulty. I conclude with a brief sketch and defence of a reflective approach to our transparent self-knowledge, and I show how this approach is connected with the thesis that we must (...) distinguish between a kind of self-knowledge that is of oneself as agent and another kind that is of oneself as patient. (shrink)

As the media wrestle with ethical and legal problems in coverage of AIDS stories, such as privacy, terminology, and disclosure, a question is raised about the educational role the media will assume in the face of this health threat. Despite health department hopes for candor in dealing with the threat, blunt?language ads and commercials have been rejected by most New York City media and legislation may restrict the extent to which media deal with the question. Though the media alone cannot (...) bear the burden of AIDS education, they must provide point?man services. (shrink)

Evidence from our research on young children's temporal understanding supports Hoerl & McCormack's view that young children rely on a temporal updating system to change representations over time. We propose that the shift from temporal updating to temporal reasoning is enabled by children's expanding representations of event sequences, along with developments in language, memory, and other cognitive competencies.

"The availability of a paperback version of Boyle's philosophical writings selected by M. A. Stewart will be a real service to teachers, students, and scholars with seventeenth-century interests. The editor has shown excellent judgment in bringing together many of the most important works and printing them, for the most part, in unabridged form. The texts have been edited responsibly with emphasis on readability.... Of special interest in connection with Locke and with the reception of Descarte's Corpuscularianism, to students of (...) the Scientific Revolution and of the history of mechanical philosophy, and to those interested in the relations among science, philosophy, and religion. In fact, given the imperfections in and unavailability of the eighteenth-century editions of Boyle’s works, this collection will benefit a wide variety of seventeenth-century scholars." --Gary Hatfield, University of Pennsylvania. (shrink)

'almost every branch of modern science can trace phases of its origin in his writings... in the broad field of science Boyle made a greater number and variety of discoveries than one man is ever likely to make again' - John Fulton, Boyle's bibliographer Robert Boyle (1627-91) was one of the most influential scientists and philosophers of the seventeenth century. The founder of modern chemistry, he headed the movement that turned it from an occult science into a (...) subject well-grounded in experiment, sound methodology and observation. His pioneering experiments on the properties of gases and his mechanistic theory of matter are the forerunners of the modern theories of chemical elements and atomic theory. He is best known for founding the renowned Boyle Lectures and for Boyle's Law that states that the pressure and volume of a gas are inversely proportional. A founding fellow of the Royal Society, three consecutive kings of England conversed familiarly with him. Philosophically, he wrote with sophistication on atheism, atomism, epistemology, miracles and natural laws. He influenced Berkeley, Spinoza, Henry More and especially John Locke, who relied on Boyle's theory of primary and secondary qualities in his Essay Concerning Human Understanding. Boyle's circle of correspondents included Newton, Locke, Aubrey, Oldenburg and Hartlib, and his influence on both British and European scholars was enormous. He also took a lead part in examining the relation of science to theology. This is the standard edition of Boyle's works and the only complete collection currently available. First published in 1772, it brings together his many and varied writings in one comprehensive, fully-indexed source. Covering his work in chemistry, philosophy and theology, it includes a Life of Boyle by Thomas Birch. The Thoemmes reprint of the second and best English edition features a new introduction by Peter Alexander, one of the world authorities on Boyle. --includes a Life of Boyle by Thomas Birch --features letters to and from Boyle --this rare edition is the only complete collected edition currently available and the standard text to which literature on Boyle refers --engraved frontispieces and several fold-out illustrations. (shrink)

Digitization technologies applied to historical newspapers have changed the research landscape historians were used to. An Eldorado? Despite unquestionable merits, the new digital affordance of historical newspapers also brings drawbacks and possibl.

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

Presenting the challenges that face digital age citizens as philosophical, as opposed to technological, this paper explores the underpinning structure of digital civics through an overview of its four foundational pillars and their informing scholarship. Through this framework and the literature that supports it, a set of five key concepts are identified as a useful guide for developing digital civics initiatives, including policy and educational interventions. In closing, this work urges the further exploration of the conceptual underpinnings of digital civics (...) to improve future formulations of digital civics and digital citizenship endeavours. (shrink)

Codes necessarily state standards of professional practice, but the term ?standards?; is itself ambiguous. ?Standards of professional practice?; can mean anything from minimal expectations for all practitioners to the perceived ideal for which practitioners should strive. Carefully articulated codes of ethics should recognize the differences between minimal standards and standard?as?ideal They should also articulate group norms?largely unstated expectations of how all people within the group should or do perform. The process of producing a code of ethics is intellectually healthy because (...) it constitutes critical analysis of the profession by its practitioners. (shrink)

Many recent AI systems take inspiration from biological episodic memory. Here, we ask how these ‘episodic-inspired’ AI systems might inform our understanding of biological episodic memory. We discuss work showing that these systems implement some key features of episodic memory whilst differing in important respects, and appear to enjoy behavioural advantages in the domains of strategic decision-making, fast learning, navigation, exploration and acting over temporal distance. We propose that these systems could be used to evaluate competing theories of episodic memory’s (...) operations and function. However, further work is needed to validate them as models of episodic memory and isolate the contributions of their memory systems to their behaviour. More immediately, we propose that these systems have a role to play in directing episodic memory research by highlighting novel or neglected hypotheses as pursuit-worthy. In this vein, we propose that the evidence reviewed here highlights two pursuit-worthy hypotheses about episodic memory’s function: that it plays a role in planning that is independent of future-oriented simulation, and that it is adaptive in virtue of its contributions to fast learning in novel, sparse-reward environments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Estelle R. JorgensenSusan Laird’s lament of her “musical under-education,” her youthful lack of opportunity for the sorts of experiences for which she hungered and its life-long after-effects, and her invocation of hunger as a metaphor for music education raise compelling questions. In a feminized field such as music, particularly piano playing, her hunger is particularly poignant. Also, (...) the notion of “musical taste” takes on new meaning, and the musical, educational, and ethical questions this metaphor evokes reveal its richness as a means of thinking about music education. This metaphor joins others such as Barbara Thayer Bacon’s metaphor of the quilt, Jane Roland Martin’s metaphor of the home, Iris Yob’s metaphor of pilgrimage, Elizabeth Gould’s metaphor of the nomad, Virginia Richardson’s metaphor of the steward, and Randall Allsup’s metaphor of the garage band, each of which illumines music education differently.1 Without one, we miss important insights into the thought and practice of music education; when taken together, they offer a richer view than were we to see music education in terms of one alone. [End Page 75]Although metaphor evokes imaginative thought and practice in music education, it is also limited. As Nelson Goodman aptly puts it, metaphor is a “matter of teaching an old word new tricks” and an “expedition abroad in which associations with one realm are applied in another.”2 Its power lies in its evocative and imaginative quality as it startles and surprises, challenges familiar ways of thinking and doing, and opens new possibilities for how we might think, act, and be differently. Although Laird would not want to literalize musical hunger or equate it with physical hunger—physical and spiritual realms intersect but they are not equivalent—it is possible to freeze a metaphor or literalize the vitality out of it. Testing it systematically, we enter the ground between metaphor and model, or what Iris Yob thinks of as the metaphorical model.3 While metaphor may prompt an intellectual journey, it cannot take us the entire way. In its particularistic and imaginative appeal, it opens reflection though it cannot suffice. A metaphor may also have a dark side. For example, envisaging the teacher’s role as salvific in providing bread for the hungry or preventing gluttony or food addictions may foster a paternalistic view that substitutes the teacher’s view of a student’s long term interests for the student’s directly-known and immediately perceived needs and interests, thereby subverting Laird’s expressed interest in the student’s desires. The educational “sin” of addiction may also be “redeemed” in Schefflerian fashion by pointing to important contributions of musicians who were doubtless excessive in their musical engagements.4 These possibilities suggest that we shall need to examine critically the metaphor and what it means for music education and move beyond the metaphor to its related models of music education.One of the interesting questions that Laird’s metaphor of hunger raises is the possibility of spiritual hunger, especially in a pervasively materialistic world. Matters related to spirituality have been addressed variously by writers in music education, whether it be the “healing” and ecologically-oriented approach of June Boyce-Tillman, the evolutionary and anthropologically grounded holistic approach of Anthony Palmer, the ethically-based approach of David Carr, the introspective and politically-charged writing of Cathy Benedict and Randall Allsup, the feminist perspectives of Elizabeth Gould, Charlene Morton, Roberta Lamb, and Deanne Bogdan, or the religiously grounded work of Iris Yob.5 Notions of spiritual hunger might be seen differently within the various lenses that these writers bring to music education but they all underscore the importance of knowing that goes beyond the literal, utilitarian, generalizable, and vocational to address the life of mind and body that Susanne Langer terms “feeling” and with which the arts, myths, rituals, and religions have to do.6 As such, they rebuke general education that is limited to reading, writing, and arithmetic, and driven by tests, standards, and mandates that often give short shrift to matters of human spirituality. Still, as the recent unanimous resolution in favor of... (shrink)

L’article propose une étude lexico-syntaxique de la polysémie du nom truc en français, qui connaît cinq types d’emplois différents, dont certains le rapprochent de noms sous-spécifiés et/ou de noms généraux. L’analyse s’appuie sur un vaste corpus de données attestées et sur une batterie de patrons syntaxiques permettant à la fois de départager et de caractériser les différentes acceptions du nom truc. Il est ainsi montré que chaque type d’emploi de ce nom en tant que Nss se caractérise par une construction (...) privilégiée, tout en en admettant une ou plusieurs autres. Il s’avère en effet que chacun des sens du substantif truc peut être défini par une conjonction de propriétés discriminantes de nature syntaxique et sémantique. (shrink)

This paper aims to refute the idea whereby giving consideration to vulnerability can only lead to an ethics, or is only relative to a politics derived from morality. I first shed some light on the seeming impossibility experienced by a large number of contemporary theories of vulnerability to fully think the political. Second, I define what one overlooks in the political when one simply considers it as a sphere of implementation of moral principles. Finally, I interpret care theories as an (...) attempt to overcome the difficulty of thinking the political from the viewpoint of vulnerability, and I define the political as a movement of reengaging with and transforming what is already instituted. (shrink)

Research within the H2020 PROGRESSIVE project has identified good practices in user co-production strategies and methodologies. Early findings from research in the PROGRESSIVE project were shared with relevant stakeholders outside the consortium for consultation and review. The outcomes of that initial investigation highlighted the need to focus on the objectives, processes, and methods used in user and older people co-production. This guide adapts these insights and makes them relevant specifically for standardisation in ICT for active and healthy ageing. This guide (...) was approved by representatives of the PROGRESSIVE project on 22 February 2018. The consortium has requested comments from interested stakeholders in an enquiry from 1 March to 30 April 2018. The PROGRESSIVE guide was approved on 5 June 2018. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. Estelle Carol The Chicago Women’s Graphics Collective: A Memoir In 1973, the Chicago Women’s Graphics Collective worked in an old run-down second-floor office on Belmont Avenue, which we shared with the main offices of the Chicago Women’s Liberation Union (CWLU).1 They call it New Town now, but in 1973, there wasn’t much new about it. We (...) weren’t the only artists in the building though; downstairs was a tattoo parlor. Still, it was better than having the studio located in my apartment on Newport Street, where there were silkscreen tables in the dining room and a bathroom that doubled as a darkroom. My bedroom door opened directly into the dining room and usually reeked of the foul chemicals we used to make the posters. Just one OSHA inspection would have shut us down forever, but it was not until later that we learned about the dangers of long-term exposure. On Newport Street, the apartment was right next to the Ravenswood Branch of the “L,” and it shook like the aftershock of a California earthquake each time a train passed. But we were in the midst of a women’s revolution, and our priorities were clear. 1. The Chicago Women’s Graphics Collective (WGC) was a “workgroup” of the CWLU from the very start. There were about 25 workgroups and other groups within the CWLU. CWLU outreach to recruit new members got a lot of new women into WGC. WGC, Women’s Liberation Rock Band, and Womankind Newspaper were the cultural arms of the CWLU. Cultural outreach to attract new CWLU members and new feminists to the movement in general was critical to the CWLU’s success. In Celebration of Amazons, 194. All posters designed and silkscreened collectively by the Chicago Women’s Liberation Union, www.cwluherstory.org. Courtesy of CWLU Herstory Project. All posters are on silkscreen. Turning Through Time, Workwoven, 195. Sisterhood Is Blooming, Springtime Will Never Be the Same, 190. Chicago Women’s Labor History, 194. International Women’s Day (reprinted from a Cuban poster). ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. OPPOSITE Chicago Maternity Center, 192. ABOVE Lesbian Pride, 192. Mountain-Moving Day, 192. ABOVE Detail from Mountain-Moving Day, 192. OPPOSITE Women Unite, Take Back the Night, 199. Lipstick and Blood (reprinted from a Cuban design). Women Are Not Chicks, 191. Liberation School for Women, 192. Boycott Red Coach Lettuce, 192. Working Women Unite, 195. International Women’s Day, Many Waves But One Ocean, 192. Estelle Carol 121 If you look at Chicago Women’s Graphics Collective posters, you’ll rarely see a person’s name on them, because we decided early on that art had been done all wrong by men. It was based on egotism and the cult of the individual—the great-men-of-art syndrome. So we decided to throw all that out, and art now had to be a collective experience. So every poster that we created had to be done by committee. Every one. We had a system in which any one of the collective could get an idea or a phrase or an image and decide to do a poster. They would ask two or three other members to be their assistants and to help develop the idea. And then in little teams they would physically create the poster in silk screen. It had to be a collective process. There’s no way that one single woman could really do it because we were using very primitive reproduction methods, and we needed at least three people to run the silk screen. The silk screens were all hand printed. No machines. If a poster was more than one color, it had to be hand printed, one color at a time, so it was very, very labor intensive. And... (shrink)

Even before ‘economic precarity’ became the default explanation for the rise of defensive nationalism globally, scholars had already begun returning to ground their work in the economy and material...

In _Vulnerability and Critical Theory_, Estelle Ferrarese identifies contemporary developments on the theme of vulnerability within critical theory while also seeking to reconstruct an idea of vulnerability that enables an articulation of the political and demonstrates how it is socially produced.

For Kristeva, in a world immersed in readymade images, art or aesthetic experience is a practice that constitutes both a subject & an object that is able to transform meaning & consciousness. This book examines key ideas in her work to show how they are most relevant to artists, & how they can be applied in interpreting artworks.

Robert Boyle, one of the most important intellectuals of the seventeenth century, was a gifted experimenter, an exceptionally able philosopher, and a dedicated Christian. In Boyle's two Excellencies, The Excellency of Theology Compared with Natural Philosophy and About The Excellency and Grounds of the Mechanical Hypothesis, he explains and justifies his new philosophy of science while reconciling it with Christian theology. These pioneering works of early science and theology are now available in a modernized and accessible new edition. (...) This Broadview edition brings spelling and punctuation into line with current conventions and includes notes and references to set the works in their historical and philosophical context. The appendices include works by Boyle's predecessors in the philosophy of science, other philosophical writings by Boyle, and an appendix of the other figures mentioned in the texts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 1-20 MuseSearchJournalsThis JournalContents[Access article in PDF]"This-with-That": A Dialectical Approach to Teaching for Musical ImaginationEstelle R. JorgensenAmong the various approaches to music education, my dialectical and epistemological view offers a way of thinking about music and education and deciding how to go forward in teaching and learning music. 1 In this article I show how this particular philosophical perspective can play out in (...) teaching for the development of musical imagination in a particular musical piece, in particular, Johannes Brahms's Intermezzo, op. 118, no. 2. Three questions lie at the center of this analysis: What is meant by my dialectical approach? 2 How is musical imagination implicated, for example, in a performer's reading of this Intermezzo? How ought one to teach for the development of musical imagination?My response to the first of this trio of questions is predicated on my previous writing, most recently in Transforming Music Education and an essay, "Four Philosophical Models of the Relationship of Theory and Practice." 3 My response to the second applies Mary Reichling's model of images of imagination to a reflection on my approach to this Brahms Intermezzo—a piece I have played over a musical lifetime—with reference to a few of its more obvious features. 4 And my response to the third builds on my extension of Vernon Howard's analysis of learning in Transforming Music Education by drawing on Alfred North Whitehead's elegant model of teaching and learning formulated almost a century ago in his The Aims of Education and Other Essays, again with reference to the self-same piece. 5 In addressing these questions, I show how my dialectical approach can work practically and how the various tensions between aspects of imagination can play out in opposite, even paradoxical, modes of teaching for musical imagination. [End Page 1]What Is Meant by My Dialectical Approach?In choosing a "this-with-that" approach rather than a both/and synthesis or either/or approach to the choices between alternatives in music education, I recognize that in the phenomenal world, educational decisions (as with decisions in other areas of life) are often difficult to arrive at and problematic in their outcomes. I see dialectics as seepages and tensions that arise between alternatives viewed comparatively. 6 These alternatives are not always logically compatible, equally feasible, or easily reconcilable. Rather, resolutions are made on the basis of incomplete information, consequences that flow from decisions are often unexpected, some things are easier to meld than others, and constituent value judgments are sometimes dissonant, even impossible, to reconcile logically and practically. My interest is in describing the epistemological quandaries in which musician-teachers and their students sometimes find themselves practically speaking. I do not seek a "one-size-fits-all" approach because it is impossible to realize practically even if it could be shown to be desirable. Music instruction takes place in the phenomenal world—a world of sometimes messy or fuzzy categories in which the teacher's and student's interests often lie at the margins, where one thing seems to become another 7 —and I seek to describe my own approach to tackling the sorts of practical dilemmas in which I find myself as teacher and student. As such, I am preoccupied with the question, How does one decide what to do as a music teacher or learner?For me, the best angle from which to address this question has been from a dialectical perspective. I came to this position as I reflected on my experience as a music teacher. 8 Things in the phenomenal world were never as simple as the theoretical models upon which I drew supposed. I was often faced with choices, and these choices were sometimes easily made and sometimes not. This practical experience resonated with that of others on a similar journey. For example, I. A. Richards remarks that Socrates enjoyed the friendship of those who were able to see both the "one-and-the-many... (shrink)

The ARAROEM project stands for the Archives from Rhône-Alpes and Romandie gathering ephemeral objects inspired by medievalism. This is a project of research and of scientific education, which aims to collect and analyse multiples products made by craftspeople and industrial companies interested by the imaginary of Middle Ages. With a clear methodology, the project investigates three fundamental criteria to understand the Ephemeral Medievalist Objects (EMO): the symbolic value of the objects, the product lifespan and the durability. It involves various disciplines (...) such as medieval history, medievalisn, semiology, economy, sociology, anthropology and ecology. (shrink)

In _Vulnerability and Critical Theory_, Estelle Ferrarese identifies contemporary developments on the theme of vulnerability within critical theory while also seeking to reconstruct an idea of vulnerability that enables an articulation of the political and demonstrates how it is socially produced.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.1 (2002) 41-62 [Access article in PDF] Pure of Heart: From Ancient Rites to Renaissance Plato Marjorie O'Rourke Boyle The philosopher who published Plato for Western thought praised him strangely. Marsilio Ficino commended his translation of the Phaedrus to his soul mate Iohannes Bessarion because in that dialogue Plato sought from God spiritual beauty. "When this gold was given to Plato by (...) God, it shone in him most brilliantly, because he was so pure in heart." The epithet "pure in heart" is not literally Ficino's diction: he wrote "in his Platonic bosom perfectly clean" (Platonico in sinu utpote mundissimo). 1 Although this philological variant insinuates his full meaning, the modern translation conveys his essential import. Ficino and Bessarion were both scholars and priests, convinced of the compatibility of Platonism with Christianity. The recipient of the letter, Bessarion, had defended the Phaedrusvigorously against protestations that, for promoting the criminal activity of pederasty, it was an obscene work of unchaste philosophy. "Love," he declared, "leads many to beatitude." 2 Ficino emphasized that "no one can attain beatitude, which consists in divine contemplation, unless he loves God ardently." 3 To that end he translated the complete works of Plato into Latin with commentaries. He also composed a speculative Theologia platonica. The pair would have approved of the application to Plato of the gospel promise "Blessed are the pure of heart [hoi katharoi t¯e kardia], for they shall see God" (Matt. 5:8). Was this promise not already fulfilled in Plato, even before Jesus' pronouncement? Did not Socrates in the Phaedrus soar to the vision of God in his myth of the charioteer, where among privileged souls he peered over the rim of intelligible being to behold the divine processional and true being? The [End Page 41] myth figured the recollection of the soul's primordial state of innocence, "when we were pure ourselves," and, beholding "the beatific vision," were initiated into its "most blessed" mystery. 4 Bessarion cited the passage defensively, declaring Socrates' speech "most holy." 5The beatitudes, from which "pure of heart" derived, emphatically comprised the opening discourse of Jesus' Sermon on the Mount. Jesus blessed the poor in spirit, the mourners, the meek, those hungry and thirsty for righteousness, the merciful, the pure of heart, the peacemakers, and those persecuted for righteousness. He pronounced a corresponding good for each type (Matt. 5:1-10). The first four beatitudes promised reversals for the unfortunate; the second four, eschatological rewards for the virtuous. 6 Ficino personalized the beatitudes. He applied them in a letter to an archbishop to his own contrasting status as a priest "of humble fortune." Indicating his slight financial means, he affirmed obedience to his lot, even contentment with his meager possessions. He then wielded the divine reversal of human judgment, so startling in the beatitudes, against his enemies. "I am certainly content with few possessions, even though I am often held in contempt by many; for these many ought to be deemed of little worth. Blessed are the poor in spirit. Blessed are the peacemakers." 7Ficino also philosophized the beatitudes. He argued in Theologia platonica that, although the celestial realm was usually considered fiery, it could be earthy, as poets imagined the Elysian Fields. Jesus' beatitude promising the possession of the earth to the meek was proof. Ficino expounded the nine grades of celestial beatitude as a belief shared by Platonists and Christians. He assigned these grades to varying degrees and combinations of three ends: the fear of divine power, the search for wisdom, and the love of good, which ultimately transformed the soul. This elaborate division Ficino compared to Jesus' beatitudes. "I think that this mystery is signified in the gospel, where the divine oracle nine times calls his disciples blessed, because through nine grades of merit, with God leading, the nine heavens are sought blessedly through nine degrees of contemplation." Despite his philosophical imposition on the biblical text, Ficino qualified his syncretism. The gospel admonished the dismissal of philosophical meanderings to pursue... (shrink)

Ferrarese develops our thinking about the social conditions of caring for others, while arguing for an understanding of morality that is materialist and political - always-already political.

Although Judith Butler regards recognition as the theme unifying her work, one finds a striking absence of dialogue between her and the authors of the normative theories of recognition – Honneth, Habermas, Ricoeur, etc. In the present article I seek to call into question this sentiment, shared by the two sides, of a radical theoretical heterogeneity. First I seek to show that the theory of performativity which Butler developed initially, contrary to all expectations, sets her relatively apart from the tradition (...) to which she conforms (the French reading of Hegel), and brings her closer to the proposition represented by the normative theories of recognition in general, and that of Honneth in particular. Then I highlight how the recent modulations in her theory, through the appearance of the idea of a constitutive vulnerability, which enables her to found an ethics, undermine for once and for all the claim of irreducibility maintained by each of the two theories in relation to the other. (shrink)

This commentary response presents two concepts that may address legal-political issues arising in the civics pillar of digital civics: the history of data and nomos. It suggests that we can draw from the history of data to supplement our understanding of datafication and formulate responses to surveillance capitalism. It then forwards the utility of the ancient concept of nomos as a means of approaching cultural and jurisdictional challenges arising in the infosphere.

No Current Hegelian theories of recognition assume a concept of the subject as always being available for harming. This emphasis placed on vulnerability, whose validity is not being called into question as such here, leave a certain number of elements on the nature of the harm threatening the person expecting recognition unclarified, especially the fact that it cannot be perpetrated without the victim being aware. At the same time, it fails to address the nature of the relationship of recognition, omitting (...) from consideration the exercise of power and the mechanisms inherent to this relationship. These omissions, as I show, cause a particular dimension of recognition-driven struggles to be neglected, a dimension which I will refer to as the politics of exit. (shrink)