Allow me to rehearse a familiar scenario. We all know that which ends you have has something to do with what you ought to do. If Ronnie is keen on dancing but Bradley can’t stand it, then the fact that there will be dancing at the party tonight affects what Ronnie and Bradley ought to do in different ways. In short, (HI) you ought, if you have the end, to take the means. But now trouble looms: what if you have (...) dreadful, murderous ends? Ought you to take the means to them? Seemingly not. But fortunately, an assumption made by deontic logics1 comes to the rescue. Since ‘‘ought’’, according to this assumption, is a sentential operator, HI must really be ambiguous. It could be read either as (Narrow) You have the end ! O(you take the means) or as (Wide) O(you have the end ! you take the means). Now if Narrow is true, then you really ought to take the means to your murderous ends. But this doesn’t follow from Wide. All that follows from Wide is that you ought to either take the means to these ends or else give them up. Conclusions: (1) Since HI is on some reading true, but Narrow isn’t, Wide is true. (2) Wide accounts for the relationship between your ends and what you ought to do. This elegant scenario repeats itself in many other domains in which it seems like something can have a bearing on what some particular agent ought to do. Does what you know affect what you ought to do? Do your beliefs about what you ought to do affect what you ought to do? Do your promises affect what you ought to do? Do your beliefs affect what you ought to believe? On each of these counts, the intuitive answer is ‘‘yes’’. And so each of these questions leaves something for the moral philosopher or the epistemologist to investigate. On each count, it seems that what we all know, is that (Account) you ought, if p, to do A. But on each count, the Narrow-scope reading of the ‘‘ought’’ in this claim yields unintuitive consequences. So since Account is true, it must be true on the Wide-scope reading.. (shrink)

Like much in this book, the title and dust jacket illustration are clever. The first evokes Hume's remark in the Treatise that ‘Reason is, and ought only to be the slave of the passions.’ The second, which represents a cross between a dance-step and a clinch, links up with the title and anticipates an example used throughout the book to support its central claims: that Ronnie, unlike Bradley, has a reason to go to a party – namely, that there (...) will be dancing at the party – because Ronnie, unlike Bradley, loves dancing. So, the explanation of why Ronnie's and Bradley's reasons differ lies in their respective psychologies.Schroeder argues for a version of the Humean Theory of Reasons he calls Hypotheticalism, which says that every reason is explained by a desire in the same way as Ronnie's is. Schroeder argues that on almost every count, Hypotheticalism is as good as, or preferable to, the Humean and non-Humean alternatives; and he defends it against an array of objections. For example, he explains that while Hypotheticalism claims that ‘desires have to serve in the explanation of every reason because desires are part of the correct analysis of reasons’, it does not claim that a desire that explains a reason is part of that reason: rather it is a background condition for it. This, Schroeder argues, allows him to rebut a variety of objections that depend on conflating reasons with their background conditions. Other …. (shrink)

This article explores the history of dance notation from the Renaissance to postmodern dance. It examines the tension between text and oral tradition in Western dance practices, as well as the issue of how to reconcile our views of choreography as both scriptural and visual. It has been difficult, if not impossible, to think of notation in relation to composition; notation has become almost solely associated with reconstruction as a phenomenon of historical interest. But, at the same (...) time, the sense of the score—and hence some notion of notation—seems to remain within the body and the mind of the dancer as a danced possibility. That is to say, some form of cognitive mapping takes the place of the idea of notation and takes root in the dancer's mind and body (if not on paper). Literal notation is not just secondary but tertiary with respect to this sense of scoring, which appears to preexist notation in the mind and the body, making of dance a form that places particular demands on the performer. (shrink)

The argument presented in this paper is not a direct attack or defence of the Chinese Room Argument (CRA), but relates to the premise at its heart, that syntax is not sufficient for semantics, via the closely associated propositions that semantics is not intrinsic to syntax and that syntax is not intrinsic to physics. However, in contrast to the CRA’s critique of the link between syntax and semantics, this paper will explore the associated link between syntax and physics. The main (...) argument presented here is not significantly original – it is a simple reflection upon that originally given by Hilary Putnam (Putnam 1988) and criticised by David Chalmers and others: instead of seeking to justify Putnam’s claim that, “every open system implements every Finite State Automaton (FSA)”, and hence that psychological states of the brain cannot be functional states of a computer, I will seek to establish the weaker result that, over a finite time window every open system implements the trace of a particular FSA Q, as it executes program (p) on input (x). That this result leads to panpsychism is clear as, equating Q (p, x) to a specific Strong AI program that is claimed to instantiate phenomenal states as it executes, and following Putnam’s procedure, identical computational (and ex hypothesi phenomenal) states (ubiquitous little ‘pixies’) can be found in every open physical system. (shrink)

Many objects in the world have functions. Typewriters are for typing. Can-openers are for opening cans. Lawnmowers are for cutting grass. That is what these things are for. Every day around the world people attribute functions to objects. Some of the objects with functions are organs or parts of living organisms. Hearts are for pumping blood. Eyes are for seeing. Countless works in biology explain the “Form, Function, and Evolution of... ” everything from bee dances to elephant tusks to pandas’ (...) ‘thumbs’. Many scientific explanations, in areas as diverse as psychology, sociology, economics, medical research, and neuroscience, rest on appeals to the function and/or malfunction of things or systems. They talk of how humans and other organisms or their parts work, what their functions are, why they are present, and how different situations will affect them and how they will react. Philosophers, going back to Aristotle, used to make generous use of functions in describing objects, organisms, their interactions, and even as the basis of ethics and metaphysics. And yet, since the Enlightenment, talk of the function of natural objects, teleological function, began to be viewed with suspicion, as the mechanical model of the world replaced the old Aristotelian model. From a religious standpoint, it used to be easy to see how objects in the natural world could have natural functions, for God was said to instill functions by design throughout Creation. But philosophers became increasingly reluctant to invoke God to solve every difficult philosophical problem, and became unwilling to indulge in such religious explanations of teleology. (shrink)

This article is written in response to Method Lab #2, reacting to and reading scenes from the theatre and the school classroom. We responded to ‘The table and the dancer’ by Carla J. Maier with drawings by Janna R. Wieland, and ‘The book and the authors reading’ by Elise v. Bernstorff and Carla J. Maier. Our responses are within the ontological turn and specifically posthuman studies and new material feminism(s). We move beyond representational thinking to explore vibrant matter and experiment (...) with what more the text, scenes and pictures can become. (shrink)

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, 'impressively atful minds'. Cognitively modern minds produced a staggering list of behavioural singularities - science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art - that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are (...) the basic mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this book, which emerged from a year-long Getty-funded research project hosted by the Centre for Advanced Study in the Behavioural Sciences at Stanford. (shrink)

Postphenomenology and posthermeneutics as initiated by Ihde have made important contributions to conceptualizing understanding human–technology relations. However, their focus on individual perception, artifacts, and static embodiment has its limitations when it comes to understanding the embodied use of technology as involving bodily movement, social, and taking place within, and configuring, a temporal horizon. To account for these dimensions of experience, action, and existence with technology, this paper proposes to use a conceptual framework based on performance metaphors. Drawing on metaphors from (...) three performance arts—dance, theatre, and music—and giving examples from social media and other technologies, it is shown that we can helpfully describe technology use and experience as performance involving movement, sociality, and temporality. Moreover, it is argued that these metaphors can also be used to reformulate the idea that in such uses and experiences, now understood as “technoperformances”, technology is not merely a tool but also takes on a stronger, often non-intended role: not so much as “mediator” but as choreographer, director, and conductor of what we experience and do. Performance metaphors thus allow us to recast the phenomenology and hermeneutics of technology use as moving, social, and temporal—indeed historical—affair in which technologies take on the role of organizer and structurer of our performances, and in which humans are not necessarily the ones who are fully in control of the meanings, experiences, and actions that emerge from our engagement with the world, with technology, and with each other. This promises to give us a more comprehensive view of what it means to live with technology and how our lives are increasingly organized by technology—especially by smart technologies. Finally, it is argued that this has normative implications for an ethics and politics of technology, now understood as an ethics and politics of technoperformances. (shrink)

From outlawing bowling in colonial America to regulating violent video games and synthetic drugs today, Mark Stein's Vice Capades examines thenation's relationship with the actions, attitudes, and antics that have defined morality. This humorous and quirky history revealsthat our views of vice are formed not merely by morals but by power. While laws against nude dancing have become less restrictive, laws restricting sexual harassment have been enacted. While marijuana is no longer illegal everywhere, restrictive laws have been enacted against (...) cigarettes. Stein examines this nation's inconsistent moral compass and how the powers-that-be in each era determine what is or is not deemed a vice. From the Puritans who founded Massachusetts with unyielding, biblically based lawsto those modern purveyors of morality who currently campaign against video game violence, Vice Capadeslooks at the American history we all know from a fresh and exciting perspective and shows how vice has shaped our nation, sometimes without us even knowing it. (shrink)

Although Michel Foucault never wrote of dance as an example of a bodily discipline in the classical age, he did affect the art of contemporary ballet through his influence on the work of William Forsythe. This article interprets Foucault’s influence on Forsythe up until the early 1990s and also examines how Forsythe’s choreography ‘responded’ to issues of agency, inscription and discipline that characterize Foucault’s thought on corporeality. Ultimately, it asks whether Forsythe’s use of Foucauldian theory leads to a reinterpretation (...) of inscription in Foucault. (shrink)

Cognitively modern human beings have language, art, science, religion, refined tool use, advanced music and dance, fashions of dress, and mathematics. Blue jays, border collies, dolphins, and bonobos do not. Only human beings have what we have, and this discontinuity in Life, this perspicuous Grand Difference, presents us with the most abiding and compelling scientific riddle of all. In The Way We Think, Gilles FauconnieRAnd I put forward the hypothesis that The Grand Difference arose in the following way . (...) The basic mental operation of conceptual integration, also known as ‘blending’, has been present and evolving in various species foRA long time, probably since early mammals, and there is no reason to doubt that many mammalian species aside from human beings have the ability to execute rudimentary forms of conceptual integration. Human beings evolved not an entirely different kind of mind, but instead the capacity for the strongest form of conceptual integration, known as ‘double- scope’ blending. Human beings are thus on a gradient with other species, but what a difference an extra step makes. Double-scope blending is the hallmark of cognitively modern human beings, and The Grand Difference is the product of double-scope blending. What is blending and why is it so important? As an illustration, consider our perception of a seal. The eyes of a seal are remarkably like the eyes of a human being. When we see a seal at the seashore, it is impossible to resist the conclusion that we and the seal share a category. Compelling and evident analogies leap out at us, between the seal’s appearance and ours, between the seal’s motion and ours. Our human eyes align toward an object as our limbs propel our bodies toward it, and it seems to be no different for the seal. Working from such analogies, we immediately forge a mental blend of ourselves and the seal. The result is a conception of a seal that has not only all of the seal’s appearance and motion but additionally a feature we know only of ourselves the possession of a mind . . (shrink)

Movement and, more particularly, kinesthesia as a modality and as a metaphor has become of interest at the intersection of phenomenology and cognitive science. In this paper I wish to combine three historically related strands, aisthêsis, kinesthesis and aesthetics, to advance an argument concerning the aesthetic value of certain somatic sensations. Firstly, by capitalizing on a recent regard for somatic or inner bodily senses, including kinesthesia, proprioception and the vestibular system by drawing lines of historical continuity from earlier philosophical investigations (...) on bodily background experience, initially from aisthêsis, Aristotle’s concept of the sensory faculty. Secondly, concepts of the sensate body are advanced through discoveries in the nervous system and related discussions of the ‘inner’ senses such as Charles Bell’s ‘muscle sense’ (1826), and what Charles Sherrington later termed ‘proprio-ception’ (1906). Thirdly, we consider the possibility of aesthetic status for those inner senses, where recently aesthetic arguments by Montero (2006) and Cole and Montero (2007) seek to determine aesthetic criteria for proprioception, and similarly in dance theory the aesthetic status of kinesthesia has been questioned (e.g. Foster 2011). Finally we consider whether previous exposure to a ‘grammar’ of movement is a factor in determining the relative aesthetic value. (shrink)

In dance, there is a practice called ‘marking’. When dancers mark, they execute a dance phrase in a simplified, schematic or abstracted form. Based on our interviews with professional dancers in the classical, modern, and contemporary traditions, it is fair to assume that most dancers mark in the normal course of rehearsal and practice. When marking, dancers use their body-in-motion to represent some aspect of the full-out phrase they are thinking about. Their stated reason for marking (...) is that it saves energy, avoids strenuous movement such as jumps, and sometimes it facilitates review of specific aspects of a phrase, such as tempo, movement sequence, or intention, all without the mental and physical complexity involved in creating a phrase full-out. It facilitates real-time reflection. (shrink)

Artificial Neural Networks have reached “grandmaster” and even “super-human” performance across a variety of games, from those involving perfect information, such as Go, to those involving imperfect information, such as “Starcraft”. Such technological developments from artificial intelligence (AI) labs have ushered concomitant applications across the world of business, where an “AI” brand-tag is quickly becoming ubiquitous. A corollary of such widespread commercial deployment is that when AI gets things wrong—an autonomous vehicle crashes, a chatbot exhibits “racist” behavior, automated credit-scoring processes (...) “discriminate” on gender, etc.—there are often significant financial, legal, and brand consequences, and the incident becomes major news. As Judea Pearl sees it, the underlying reason for such mistakes is that “... all the impressive achievements of deep learning amount to just curve fitting.” The key, as Pearl suggests, is to replace “reasoning by association” with “causal reasoning” —the ability to infer causes from observed phenomena. It is a point that was echoed by Gary Marcus and Ernest Davis in a recent piece for theNew York Times: “we need to stop building computer systems that merely get better and better at detecting statistical patterns in data sets—often using an approach known as ‘Deep Learning’—and start building computer systems that from the moment of their assembly innately grasp three basic concepts: time, space, and causality.” In this paper, foregrounding what in 1949 Gilbert Ryle termed “a category mistake”, I will offer an alternative explanation for AI errors; it is not so much that AI machinery cannot “grasp” causality, but that AI machinery (qua computation) cannot understand anything at all. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Educational Imperative: A Defense of Socratic and Aesthetic LearningMark StockerThe Educational Imperative: A Defense of Socratic and Aesthetic Learning, by Peter Abbs; x & 250 pp. Bristol, Pennsylvania: Taylor & Francis, 1994, $29.00 paper.O tempora! o mores! Peter Abbs begins by deploring “the cultural catastrophe” of British education in the mid-1990s. He states in his always lucid and accessible prose: “I want to come clean; I want (...) to place the general argument of the book in the current arena of public debate, and to do so without apology and without equivocation.” He bemoans today’s massive denial of spiritual energy, of intellectual enquiry, of aesthetic beauty and public virtue. In a better world, he says, education would serve, “willingly and lovingly... the transcendent ends” of culture and society. Abbs decisively rejects the “Cato” model where teachers are unquestioning skill-based technicians who employ [End Page 393] “managerial” language. Instead, he advocates a Socratic view, which is “to reaffirm that education should be primarily concerned with critical reflection, with personal development and with the sustained enquiry into the various forms of meaning.”Subsequent chapters apply this approach to the arts curriculum. Its failure to gain proper recognition and the absurd and continued conflation of Dance and Physical Education are indicted. Abbs convincingly attacks the notion of “self-expression” in art and language long upheld by educationalists. Its application at the expense of reason, abstract thinking, and the study of “the truly significant writers through the centuries” has in his view helped to trivialize and to marginalize the arts. Nowhere is this more apparent than in so-called “educational drama.” For three generations it has denied “the aesthetic field of drama, the symbolic field of its own form,” and has elevated one genre, improvisation, and made it the totality.Abbs is committed to reconciling “the creative energies of the individual and the creative energies of the culture.” Who would argue with that? And who could deny the value of critical reflection or indeed public virtue? He declares, rather ponderously: “The vested interests of Coca-Cola manufacturers or political missionaries have to be seen as too ‘recent and relevant’ to be allowed” to shape education. The Abbs academy requires “a formally protected place, an institutional space more like the theatre than Tesco [a supermarket chain], more like the cathedral than the Stock Exchange.” For all this patent seriousness and sincerity, here is an educationalist irrevocably and irreconcilably out of joint with the present. The austere modernism of Herbert Read profoundly influenced Abbs in his teens; he also admires F. R. Leavis, Richard Hoggart, and David Holbrook, whose writing at its most influential spans the 1930s and the 1960s. Abbs’s most recent source of inspiration is the art critic Peter Fuller, whose abiding legacy was a romantic nationalism that eloquently celebrated an “essentially symbolic and figurative” tradition in British art from J. M. W. Turner to Henry Moore.Modern Painters, which Fuller edited, could afford to eschew popular culture and its connections with “higher” arts. Fine for a periodical, but how could such a fastidious approach be applied to the classroom experience? Abbs describes an experiment that he performed on student-teachers at the University of Sussex to understand their aesthetic responses. Among the events and objects that the students were asked to consider were John Constable’s The Haywain, Richard Strauss’s The Four Last Songs, a visit to Claude Monet’s garden and a performance of Coriolanus. Abbs’s list does not, however, contain Pulp Fiction, a Courtney Love concert, or an S. E. Hinton novel. What place, if any, do the latter have in the arts curriculum? Must they be ruled out for being too “recent and relevant”? Can student responses to them be brought to bear on their comprehension of higher culture? Or is there a great and ultimately irreconcilable divide? Abbs never faces these issues and instead, in his fogyish [End Page 394] coda, denounces once more “the consumer society” which has “trivialized on an unprecedented scale” and has “tarnished whatever it has touched.”Mark StockerUniversity of Canterbury, New ZealandCopyright © 1995 The Johns Hopkins University Press... (shrink)

Contemporary art, which explodes from the borders and identifiable genres, the dance requires to be discussed in a perspective that exceeds the narrow of the sector. It is a microcosm of the world, a privileged space for observing the displacements and tensions of the contemporary world whose stake is a new posture that redesigns the body map in the society of capital and in the era of relations mediated by the mechanisms of the network. The result is a unique (...) field of analysis to explore with the work of Michele Di Stefano, one of the most interesting figures in the advanced front of contemporary choreography. Space, time and aesthetic categories mark this path of reflection. (shrink)

The Narrow Evolutionary Psychology Movement represents itself as a major reorientation of the social/behavioral sciences, a group of sciences previously dominated by something called the ‘Standard Social Science Model’. Narrow Evolutionary Psychology alleges that the SSSM treated the mind, and particularly those aspects of the mind that exhibit cultural variation, as devoid of any marks of its evolutionary history. Adherents of Narrow Evolutionary Psychology often suggest that the SSSM owed more to ideology than to evidence. It was the child of (...) the 1960s, representing a politically motivated insistence on the possibility of changing social arrangements such as gender roles: " ‘Not so long ago jealousy was considered a pointless, archaic institution in need of reform. But like other denials of human nature from the 1960s, this bromide has not aged well.’ ) " This view of history does not ring true to those, like the authors, who have worked in traditions of evolutionary theorizing about the mind that have a continuous history through the 1960s and beyond: traditions such as evolutionary epistemology and psychoevolutionary research into emotion (Griffiths. (shrink)

Digital cameras and motion capture technologies that document and share creative practices have transformed the way we think about dance as an embodied knowledge as well as the way we experience it bodily. Computational media, which not only records and archives but also calculates, analyses and models dance, further complicates its ontological status. This move to document and inscribe dance in a tangible medium marks a shift from understanding dance as an ungraspable event towards conceiving of (...) dance as a tangible process that can be collected, transmitted, repeated and packaged or archived as an object. I look at two dance works – Matthias Sperling’s Loop Atlas and Siobhan Davies and Anri Sala’s Solo in the Doldrums – that trouble conventional notions of embodiment and its relationship to both presence and absence, at the same time they challenge how computational media fixates on figures and gestures that can be traced, mapped and calibrated. (shrink)

The article introduces a new perspective on the impact of globalization on identity formation, which marks a shift from traditional understandings of fixed territorial (cultural) identities. It uses Deleuze and Guattari’s theoretical terms of Deterritorialization and Reterritorialization and establishes these as the essence of Globalization Scholte (Globalization: A Critical Introduction, Palgrave Macmillan, New York, 2005), rejecting the pessimism and fear of cultural imperialism as a by-product of globalization or a fear of standardization in multicultural work environments. It presents globalization as (...) a positive force creating new assemblages and a renewed understanding of ourselves in the contemporary society. The approach contributes to leadership and management literature, specifically in International Business and cross-cultural communication contexts, by presenting a new lens through which leaders and decision makers can view the subtle shifts brought about by the dissemination of global modernity and its impact on identity formation, allowing them to better lead a culturally diverse work force. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living body, that Gallagher often (...) draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (shrink)

How to inculcate virtue in the citizens of Magnesia by means of the dance component ofchoreiaconstitutes one of the principal concerns in theLaws(=Leg.), revealing Plato's evolving ideas about the expediency of music andpaideiafor the construction of his ideal city since theRepublic. Indeed, a steady stream of monographs and articles on theLawshas enriched our understanding of how Plato theorizes the body as a site of intervention and choral dance as instrumental in solidifying social relations and in conditioning the ethical (...) and political self. As one scholar has aptly put it: ‘a city and its sociopolitical character [are] effectively danced into existence.’ Drawing on this recent work, I focus on an enigmatic passage inLawsBook 7 that merits more attention than it has received, in which Plato curiously singles out Bacchic dances from those that are ‘without controversy’ (815b7–d4):τὴν τοίνυν ἀμφισβητουμένην ὄρχησιν δεῖ πρῶτον χωρὶς τῆς ἀναμφισβητήτου διατεμεῖν. τίς οὖν αὕτη, καὶ πῇ δεῖ χωρὶς τέμνειν ἑκατέραν; ὅση μὲν βακχεία τ᾽ ἐστὶν καὶ τῶν ταύταις ἑπομένων, ἃς Νύμφας τε καὶ Πᾶνας καὶ Σειληνοὺς καὶ Σατύρους ἐπονομάζοντες, ὥς φασιν, μιμοῦνται κατῳνωμένους, περὶ καθαρμούς τε καὶ τελετάς τινας ἀποτελούντων, σύμπαν τοῦτο τῆς ὀρχήσεως τὸ γένος οὔθ᾽ ὡς εἰρηνικὸν οὔθ᾽ ὡς πολεμικὸν οὔθ᾽ ὅτι ποτὲ βούλεται ῥᾴδιον ἀφορίσασθαι: διορίσασθαι μήν μοι ταύτῃ δοκεῖ σχεδὸν ὀρθότατον αὐτὸ εἶναι, χωρὶς μὲν πολεμικοῦ, χωρὶς δὲ εἰρηνικοῦ θέντας, εἰπεῖν ὡς οὐκ ἔστι πολιτικὸν τοῦτο τῆς ὀρχήσεως τὸ γένος, ἐνταῦθα δὲ κείμενον ἐάσαντας κεῖσθαι, νῦν ἐπὶ τὸ πολεμικὸν ἅμα καὶ εἰρηνικὸν ὡς ἀναμφισβητήτως ἡμέτερον ὂν ἐπανιέναι.So, first of all, we should separate questionable dancing far from dancing that is without controversy. Which is the controversial kind, and how are the two to be distinguished? All the dancing that is of a Bacchic kind and cultivated by those who indulge in intoxicated imitations of Nymphs, Pans, Sileni and Satyrs (as they name them), when performing certain rites of expiation and initiation—this entire class of dancing cannot easily be marked off either as pacific or as warlike, nor as of any one particular kind. The most correct way of defining it appears to me to be this—to place it away from both pacific and warlike dancing, and to pronounce that this type of dancing is οὐ πολιτικόν; having thus set aside and dismissed it, we will now return to the warlike and pacific types, which without controversy belong to us. (shrink)

This book investigates how Pragmatist philosophy as a philosophical method contributes to the understanding and practice of interdisciplinary dance research. It uses the author's own practice-based research project, Later Rain, to illustrate this. Later Rain is a post-dramatic dance theater work that engages primarily with issues in the philosophy of religion and socio-political philosophy. It focuses on ecstatic states that arise in Appalachian charismatic Pentecostal church services, states characterized by dancing, paroxysms, shouting, and speaking in tongues. Research for (...) this work is interdisciplinary as it draws on studio practice, ethnographic field work, cultural history, Pentecostal history and theology, folk aesthetics, anthropological understandings of ecstatic religious rituals, and dance history regarding acclaimed works that have sought to present aspects of religious ecstasy on stage; Doris Humphrey's The Shakers, Mark Godden’s Angels in the Architecture, Martha Clarke’s Angel Reapers and Ralph Lemon’s Geography trilogy. The project thereby demonstrates a process model of dance philosophy, showing how philosophy and dance artistry intertwine in a specific creative process. (shrink)

The translation of Rudolf Bode’s Rhythm and its Importance for Education and Rudolf Laban’s ‘Eurhythmy and kakorhythmy in art and education’ aims at unearthing rhythm-related discourses in the Germany of the 1920s. If for most of the English-speaking world the translation of Henri Lefebvre’s Rhythmanalysis: Space, Time and Everyday Life marks the moment in which rhythm descends into the theoretical arena, these texts, seen in their connection with other sources, express, instead, the degree to which rhythm was omnipresent in philosophical, (...) artistic, socio-economical and psychological discourses at the turn of the 20th century. Some commentators, such as Lubkoll, have recently highlighted the centrality of rhythm in Modernity, lamenting a lack of scholarship focusing on this phenomenon. This is arguably due to a lack of access to sources accentuated by the language barrier; if, indeed, the ‘rhythmanalysis’ of the turn of the century is not an exclusively Teutonic phenomenon, it is also true that a copious amount of material on rhythm of this period is written in German and remains untranslated. In this sense, then, this translation aims at contributing to the project of a cultural history of rhythm. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy—Aesthetics—Education:Reflections on DanceTyson Lewis (bio)To create is to lighten, to unburden life, to invent new possibilities of life. The creator is legislator—dancer.—Gilles Deleuze, Pure ImmanenceThe Italian philosopher Giorgio Agamben is perhaps best known for his ongoing interest in the problem of "biopower." Taking up where Michel Foucault ended, Agamben argues that the principle political and philosophical questions of the moment concern the connections between life and power. In this (...) sense, he stands in diametric opposition to one of the leading French intellectuals of our times: Alain Badiou. For Badiou, the key question of the present is not so much power and the body as it is the ethics of truth. According to Agamben, Badiou's project has abandoned thinking about the biopolitics of life and as such is both philosophically and politically suspect. But does Agamben's critique prematurely dismiss Badiou? In other words, does his critique prevent us from recognizing the precise location of biopolitics in Badiou's work? It is my contention that we must read Badiou not against but from within a biopolitical framework in order to realize both the validity of Agamben's criticism and its limitations. In fact, it is through the critical lens of biopolitical theory that we can begin to see the unique links in Badiou's thinking between aesthetics, the body, and education. In conclusion, I argue that Agamben provides insights missed by Badiou's reduction of the animal body to the disavowed grounds for the grace and beauty of truth, while at the same time Badiou provides Agamben's own theory of biopolitics with a unique educative practice: the practice of dance.Here I would like to justify this philosophical inquiry for educational theorists. With the fate of art-based educational programs uncertain in the [End Page 53] face of standardization, it is perhaps time to reassess legitimating claims for retaining arts education programs. By reading Badiou through Agamben, I hope to provide a new reason for advocating the centrality of dance in educational programs and assert the inherently educative qualities of movement-based curricula. Second, I hope to suggest in my conclusion that dance is an important form of educational practice antithetical to current forms of capitalist "bioproduction." As such, I will link together my own theory of dance education with the critical pedagogical tradition in order to anchor the "utopian imagination" in a practice of the body. This is an attempt to fill in a rather vague sphere of critical pedagogical research and theory: aesthetic practice. Overall, this article will bring together two important philosophical traditions—Agamben's biopolitical theory and Badiou's theory of truth—in order to examine their relation to education and, in turn, how education is a central concept for thinking through contemporary continental philosophical traditions.Biopower and Event: Situating the Subject in Relation to TruthMichel Foucault first coined the theoretical concept "biopower" in his work on the history of sexuality.1 In order to understand Foucault's meaning we must first separate biopower from sovereign power, which is characterized by the "right to decide life and death."2 The sovereign—which for Foucault is not simply a form of territorial rule but is a principle of power relations—decides who lives and who dies. Power here is the power of the sword that marks the body directly through overt forms of public torture and violence. But in the classical age and with the rise of capitalist social relations, the form and function of power switched. Famously, Foucault wrote that the highest function of power "was perhaps no longer to kill, but to invest life through and through."3 This new form of power—whose concern was no longer death but the maintenance and regulation of life—operates on two interconnected levels. First, biopower conceives of the body as a machine, which must be disciplined in order to be made more efficient. Here, power acts as microphysics, training the individual body in order to reach a high level of social efficiency. Second, on the macro level, biopower transforms the populous into a population that has to be carefully regulated in terms of propagation rates, health levels... (shrink)

Far more than just a dance, the dynamic choreography of the Yup’ik provides an illuminating window into the morality, social organization, and colonial history of this indigenous people. In Yupiit Yurayarait, anthropologist Ann Fienup-Riordan begins with a brief historical overview of the colonization and development of Alaska from the Yup'ik point of view. Then, armed with oral history testimony spanning thirty years, she shows how singing and dancing are interconnected and imbued with meaning in this complex ritual. Accompanied by (...) one hundred and fifty original photographs, this volume marks the first in-depth look at the Yup’ik people through the lens of interpretive dance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Finding a Pedagogical Framework for Dialogue about Nudity and Dance ArtSuzanne Jaeger (bio)"Nudity is like calling something 'Free Beer.' I always threaten to make people do stuff naked, and I'm all for it, but to me, it's usually more trouble than it's worth. If something is swinging around, that's all anybody looks at."—Mark Morris, choreographerIntroductionIn his article on nudity in theatre dance, philosopher Francis Sparshott observes (...) that because we live in a culture in which, for the most part, we remain clothed when in public, we wonder why the dancers in a particular performance of theatre dance are undressed.1 It can be at least a little shocking and often distracting. There are, of course, times when people are naked in public, for example, when seeing a physician, on a nude beach, when using a public change room, or when engaged in a sexual encounter. For the most part, however, we wear clothes in most social contexts. Even if we allow that performances are extraordinary public situations dissimilar from everyday social interactions, because nudity is not the usual condition even for theater dance, we may well wonder why a choreographer has chosen to have the dancers undressed. In other words, the question is fair enough.Certainly, creating some sense of shock or surprise in the audience is often what artists are seeking. Furthermore, they may also be playing on their own, the audience's, or their dancers' exhibitionism. These are all possible aspects of the experience of seeing theater dancers naked on stage. Exhibitionism is itself an interesting aesthetic value, about which much could be said. Exhibitionism is also, at times, tedious, such as when it comes as a [End Page 32] demand for attention that outweighs the interest that can be generated by what the exhibitionist is actually doing. We often expect artists to show us something that goes beyond them—something that focuses our attention and interests away from the artist and onto the work of art.In the following discussion I assume that choreographers sometimes choose to present their dancers undressed because they believe it contributes to the meanings of the dance as a work of art. It is this idea that nudity can be artistically meaningful that I wish to explore. If nudity is not used solely for commercial appeal, shock value, or exhibitionism but rather to contribute to meanings evoked by the dance as an artwork, what more can be said about how the audience has access to these meanings?I begin by defining "art dance" in relation to other kinds of dance practices and then consider a distinction between nudity and nakedness raised first by Kenneth Clark and John Berger in their analyses of meaning in oil paintings and other visual representations of the human form.2 I then introduce two ideas commonly discussed in some canonical literature in the philosophy of art: first, the claim that works of art express feelings; and second, the concept of form as it is used when talking about works of art. Although the discourses of philosophical aesthetics have since moved in new directions, and the notions of expression and aesthetic form are no longer central to the problems of the day, I return to these seminal ideas because they add to our understanding of how nudity can contribute meaning to a work of art dance.I also assume in the discussion that the success of using nudity in a dance work can only be judged on a case-by-case basis. The analyses of feeling and form are meant to provide a pedagogical framework for dialogue with students about the role of nudity in the aesthetics of art dance. The examples serve as illustrations of how one might interpret meanings in particular dance works that use nudity. The educational objective of my interpretations is to promote by example the capacity of art dance observers for experiencing, understanding, and becoming meaningfully involved with works of art dance that use nudity.Part One: Definition of Art DanceWhat I have to say about nudity is said with art or theater dance in mind rather than other forms of dance. This... (shrink)

This peer-reviewed essay is an intervention into the emerging field of 'Speculative Realism', which has links to the field of Speculative Aesthetics. The work is essentially an attempt to develop a theory of perception (and more broadly consciousness) that is not at odds with the scientific worldview. In this respect, the dominant views of aesthetic perception (Kantian / neo-Kantian phenomenology) are critiqued in favour of neurophilosophical views stemming from Thomas Metzinger. In order to position myself, I go on to analyse (...) the fiction of Thomas Ligotti to develop the idea of a non-human-centric phenomenal experience. This work operates within several philosophical contexts: one is the debate between phenomenology and scientific realism, of which the developing field of Speculative Realism is a part, and upon which the journal Collapse has been incredibly influential; a further context is that of transcendental materialism; another is that of the relationship between literature and philosophy. The article marks a departure within these fields by suggesting that recent developments in cognitive science can be understood not through a naïve scientism or a kind of brute materialism, but only through understanding the transcendental ramifications to the phenomenal experience of the human. (shrink)

Like much in this book, the title and dust jacket illustration are clever. The first evokes Hume's remark in the Treatise that ‘Reason is, and ought only to be the slave of the passions.’ The second, which represents a cross between a dance-step and a clinch, links up with the title and anticipates an example used throughout the book to support its central claims: that Ronnie, unlike Bradley, has a reason to go to a party – namely, that there (...) will be dancing at the party – because Ronnie, unlike Bradley, loves dancing. So, the explanation of why Ronnie's and Bradley's reasons differ lies in their respective psychologies.Schroeder argues for a version of the Humean Theory of Reasons he calls Hypotheticalism, which says that every reason is explained by a desire in the same way as Ronnie's is. Schroeder argues that on almost every count, Hypotheticalism is as good as, or preferable to, the Humean and non-Humean alternatives; and he defends it against an array of objections. For example, he explains that while Hypotheticalism claims that ‘desires have to serve in the explanation of every reason because desires are part of the correct analysis of reasons’ , it does not claim that a desire that explains a reason is part of that reason: rather it is a background condition for it. This, Schroeder argues, allows him to rebut a variety of objections that depend on conflating reasons with their background conditions. Other …. (shrink)

PURPOSE: The aim of this study was to assess the reliability and validity of the new judging system in DanceSport. METHODS: Eighteen judges rated the 12 best placed adult dancing couples competing at an international competition. They marked each couple on all judging criteria on a 10 level scale. Absolute agreement and consistency of judging were calculated for all main judging criteria and sub-criteria. RESULTS: A mean correlation of overall judging marks was 0.48. Kendall’s coefficient of concordance for overall marks (...) (W = 0.58) suggesting relatively low agreement among judges. Slightly lower coefficients were found for the artistic part (Partnering skills (W = 0.45) and Choreography and performance (W = 0.49)) compared to the technical part (Technical qualities (W = 0.56) and Movement to music (W = 0.54)). ICC for overall criteria was low for absolute agreement (ICC(2,3) = 0.62) but higher for consistency (ICC(3,3) = 0.80). CONCLUSION: The relatively large differences between judges’ marks suggest that judges either disagreed to some extent on the quality of the dancing or used the judging scale in different ways. The biggest concern was standard error of measurement (SEM) which was often larger than the difference between dancers scores suggesting that this judging system lacks validity. This was the first research to assess judging in DanceSport and offers suggestions to potentially improve both its objectivity and validity in the future. (shrink)

2021 marks Dylan's 80th birthday and his 60th year in the music world. It invites us to look back on his career and the multitudes that it contains. Is he a song and dance man? A political hero? A protest singer? A self-portrait artist who has yet to paint his masterpiece? Is he Shakespeare in the alley? The greatest living exponent of American music? An ironsmith? Internet radio DJ? Poet (who knows it)? Is he a spiritual and religious parking (...) meter? Judas? The voice of a generation or a false prophet, jokerman, and thief? Dylan is all these and none. The essays in this book explore the Nobel laureate’s masks, collectively reflecting upon their meaning through time, change, movement, and age. They are written by wonderful and diverse set of contributors, all here for his 80th birthday bash: celebrated Dylanologists like Michael Gray and Laura Tenschert; recording artists such as Robyn Hitchcock, Barb Jungr, Amy Rigby, and Emma Swift; and 'the professors’ who all like his looks: David Boucher, Anne Margaret Daniel, Ray Monk, Galen Strawson, and more. Read it on your toaster! (shrink)

Mark Wilson presents a highly original and broad-ranging investigation of the way we get to grips with the world conceptually, and the way that philosophical problems commonly arise from this. He combines traditional philosophical concerns about human conceptual thinking with illuminating data derived from a large variety of fields including physics and applied mathematics, cognitive psychology, and linguistics. Wandering Significance offers abundant new insights and perspectives for philosophers of language, mind, and science, and will also reward the interest of (...) psychologists, linguists, and anyone curious about the mysterious ways in which useful language obtains its practical applicability. (shrink)

This book provides a rich, systematic, and accessible introduction to moral psychology, aimed at undergraduate philosophy and psychology majors. There are eight chapters, in addition to a short introduction, prospective conclusion, and extensive bibliography. The recipe for each chapter will be: a) to introduce a philosophical topic (e.g., altruism, virtue, preferences, rules) and some prominent positions on it, without assuming prior acquaintance on the part of the reader b) to canvass and explain the relevance of a particular domain of empirical (...) inquiry (e.g., evolutionary psychology, behavioral economics, neuroscience) to the topic c) to argue for some tentative conclusions about the topic d) to suggest further avenues for conceptual and empirical research The guiding theme of the book is that moral philosophy without psychological content is empty, whereas psychological investigation without philosophical insight is blind. Thus, I advocate a holistic approach that pictures moral psychology as a project of collaborative inquiry into the descriptive and normative aspects of the human condition. Ideally, students will come away from (a course built around) the book with the sense that, though philosophy may not be the queen of the sciences, its role is not merely to interpret scientific results. (shrink)

Mark Jago presents an original philosophical account of meaningful thought: in particular, how it is meaningful to think about things that are impossible. We think about impossible things all the time. We can think about alchemists trying to turn base metal to gold, and about unfortunate mathematicians trying to square the circle. We may ponder whether God exists; and philosophers frequently debate whether properties, numbers, sets, moral and aesthetic qualities, and qualia exist. In many philosophical or mathematical debates, when (...) one side of the argument gets things wrong, it necessarily gets them wrong. As we consider both sides of one of these philosophical arguments, we will at some point think about something that’s impossible. Yet most philosophical accounts of meaning and content hold that we can’t meaningfully think or reason about the impossible. -/- In The Impossible, Jago argues that we often gain new information, new beliefs, and, sometimes, fresh knowledge through logic, mathematics, and philosophy. That is why logic, mathematics, and philosophy are useful. We therefore require accounts of knowledge and belief, of information and content, and of meaning which allow space for the impossible. Jago’s aim in this book is to provide such accounts. He gives a detailed analysis of the concept of hyperintensionality, whereby logically equivalent contents may be distinct, and develops a theory in terms of possible and impossible worlds. Along the way, he provides a theory of what those worlds are and how they feature in our analysis of normative epistemic concepts: knowledge, belief, information, and content. (shrink)

In this paper, I describe some of what I take to be the more interesting features of friendship, then explore the extent to which other virtues can be reconstructed as sharing those features. I use trustworthiness as my example throughout, but I think that other virtues such as generosity & gratitude, pride & respect, and the producer’s & consumer’s sense of humor can also be analyzed with this model. The aim of the paper is not to demonstrate that all moral (...) virtues are exactly like friendship in all important respects, but rather to articulate a fruitful model in which to explore the virtues. Section 2 explores the relational nature of friendship, drawing on Aristotle’s discussion of friendship in the Nicomachean Ethics. Section 3 catalogues four motivations for taking seriously the friendship model of virtue. Section 4 applies the friendship model in depth to the virtue of trustworthiness. (shrink)

Experimental moral philosophy emerged as a methodology in the last decade of the twentieth century, as a branch of the larger experimental philosophy (X-Phi) approach. Experimental moral philosophy is the empirical study of moral intuitions, judgments, and behaviors. Like other forms of experimental philosophy, it involves gathering data using experimental methods and using these data to substantiate, undermine, or revise philosophical theories. In this case, the theories in question concern the nature of moral reasoning and judgment; the extent and sources (...) of moral obligations; the nature of a good person and a good life; even the scope and nature of moral theory itself. This entry begins with a brief look at the historical uses of empirical data in moral theory and goes on to ask what, if anything, is distinctive about experimental moral philosophy—how should we distinguish it from related work in empirical moral psychology? After discussing some strategies for answering this question, the entry examines two of the main projects within experimental moral philosophy, and then discusses some of the most prominent areas of research within the field. As we will see, in some cases experimental moral philosophy has opened up new avenues of investigation, while in other cases it has influenced longstanding debates within moral theory. (shrink)

This paper brings together two erstwhile distinct strands of philosophical inquiry: the extended mind hypothesis and the situationist challenge to virtue theory. According to proponents of the extended mind hypothesis, the vehicles of at least some mental states (beliefs, desires, emotions) are not located solely within the confines of the nervous system (central or peripheral) or even the skin of the agent whose states they are. When external props, tools, and other systems are suitably integrated into the functional apparatus of (...) the agent, they are partial bearers of her cognitions, motivations, memories, and so on. According to proponents of the situationist challenge to virtue theory, dispositions located solely within the confines of the nervous system (central or peripheral) or even the skin of the agent to whom they are attributed typically do not meet the normative standards associated with either virtue or vice (moral, epistemic, or otherwise) because they are too susceptible to moderating external variables, such as mood modulators, ambient sensibilia, and social expectation signaling. We here draw on both of these literatures to formulate two novel views – the embedded and extended character hypotheses – according to which the vehicles of not just mental states but longer-lasting, wider-ranging, and normatively-evaluable agentic dispositions are sometimes located partially beyond the confines of the agent’s skin. (shrink)

Hobbes emphasized that the state of nature is a state of war because it is characterized by fundamental and generalized distrust. Exiting the state of nature and the conflicts it inevitably fosters is therefore a matter of establishing trust. Extant discussions of trust in the philosophical literature, however, focus either on isolated dyads of trusting individuals or trust in large, faceless institutions. In this paper, I begin to fill the gap between these extremes by analyzing what I call the topology (...) of communities of trust. Such communities are best understood in terms of interlocking dyadic relationships that approximate the ideal of being symmetric, Euclidean, reflexive, and transitive. Few communities of trust live up to this demanding ideal, and those that do tend to be small (between three and fifteen individuals). Nevertheless, such communities of trust serve as the conditions for the possibility of various important prudential epistemic, cultural, and mental health goods. However, communities of trust also make possible various problematic phenomena. They can become insular and walled-off from the surrounding community, leading to distrust of out-groups. And they can lead their members to abandon public goods for tribal or parochial goods. These drawbacks of communities of trust arise from some of the same mecha-nisms that give them positive prudential, epistemic, cultural, and mental health value – and so can at most be mitigated, not eliminated. (shrink)

Hubert Dreyfus argues that explicit thought disrupts smooth coping at both the level of everyday tasks and of highly-refined skills. However, Barbara Montero criticises Dreyfus for extending what she calls the ‘principle of automaticity’ from our everyday actions to those of trained experts. In this paper, I defend Dreyfus’ account while refining his phenomenology. I examine the phenomenology of what I call ‘esoteric’ expertise to argue that the explicit thought Montero invokes belongs rather to ‘gaps’ between or above moments of (...) reflexive coping. However, I agree that the ‘principle of automaticity’ does not adequately capture the experience of performing such skills. Drawing on examples of expert performance in sport and improvised music and dance, I argue that esoteric action, at its best, is marked by a distinct state of non-conceptual awareness- an experience of spontaneity, flow and ‘owned-ness’- that distinguishes it from the automaticity of everyday actions. (shrink)

Explores the place of intellectual virtues and vices in a social world. Chapters are divided into four sections: Foundational Issues; Individual Virtues; Collective Virtues; and Methods and Measurements.

We argue that the interaction of biased media coverage and widespread employment of the recognition heuristic can produce epistemic injustices. First, we explain the recognition heuristic as studied by Gerd Gigerenzer and colleagues, highlighting how some of its components are largely external to, and outside the control of, the cognitive agent. We then connect the recognition heuristic with recent work on the hypotheses of embedded, extended, and scaffolded cognition, arguing that the recognition heuristic is best understood as an instance of (...) scaffolded cognition. In section three, we consider the double-edged sword of cognitive scaffolding. On the one hand, scaffolds can reduce the internal processing demands on cognitive agents while increasing their access to information. On the other hand, the use of scaffolding leaves cognitive agents increasingly vulnerable to forming false beliefs or failing to form beliefs at all about particular topics. With respect to the recognition heuristic, agents rely on third parties (such as the media) to report not just what’s true but also what’s important or valuable. This makes cognitive agents relying on these third parties vulnerable to two erroneous influences: 1) because they don’t recognize something, it isn’t important or valuable, and 2) because they do recognize something, it is important or valuable. Call the latter the Kardashian Inference and the former the Darfur Inference. In section four, we use Fricker’s (2007) concept of epistemic injustice to characterize the nature and harm of these false inferences, with special emphasis on the Darfur Inference. In section five, we use data-mining and an empirical study to show how Gigerenzer’s population estimation task is liable to produce Darfur Inferences. We conclude with some speculative remarks on more important Darfur Inferences, and how to avoid them by scaffolding better. One primary way to accomplish this it to shift the burden of embodying the virtue of epistemic justice from the hearer or consumer of media to the media themselves. (shrink)

This chapter explores a case study in contemporary fanaticism. We adopt Katsafanas’s conceptualization of fanaticism to make possible an in-depth discussion of and evaluation of a diffuse but important social movement — the anglophone manosphere. According to Katsafanas, fanatics are fruitfully understood as members of a group that adopts sacred values which they hold unconditionally to preserve their own psychic unity, and who feel that those values are threatened by those who do not accept them. The manosphere includes several social (...) movements, including incels, men’s rights activists, and men-going-their-own-way. We show that many members of these groups are well-characterized by Katsafanas’s theory of fanaticism, and that they have forged their fanatical group identity using tools that philosophers have tended to associate with more benign social movements and the task of “conceptual engineering.” Indeed, we think that manosphere groups have in many cases been more successful than more palatable liberationist movements, and that this case study in the dark side of conceptual engineering may be both sobering and informative. (shrink)

Gossip is often serious business, not idle chitchat. Gossip allows those oppressed to privately name their oppressors as a warning to others. Of course, gossip can be in error. The speaker may be lying or merely have lacked sufficient evidence. Bias can also make those who hear the gossip more or less likely to believe the gossip. By examining the social functions of gossip and considering the differences in power dynamics in which gossip can occur, we contend that gossip may (...) be not only permissible but virtuous, both as the only reasonable recourse available and as a means of resistance against oppression. (shrink)

How should emotions figure in scientific practice? I begin by distinguishing three broad answers to this question, ranging from pessimistic to optimistic. Confirmation bias and motivated numeracy lead us to cast a jaundiced eye on the role of emotions in scientific inquiry. However, reflection on the essential motivating role of emotions in geniuses makes it less clear that science should be evacuated of emotion. I then draw on Friedrich Nietzsche’s perspectivism to articulate a twenty-first century epistemology of science that recognizes (...) the necessity of emotion to inquiry but aims to manage the biases that emotions can introduce. Twenty-first century perspectivism is both social and (temporally) distal, helping it to overcome a paradox of self-critical inquiry. (shrink)

Protests and counter-protests seek to draw and direct attention and concern with confronting images and slogans. In recent years, as protests and counter-protests have partially migrated to the digital space, such images and slogans have also gone online. Two main ways in which these images and slogans are translated to the online space is through the use of emoji and hashtags. Despite sustained academic interest in online protests, hashtag activism and the use of emoji across social media platforms, little is (...) known about the specific functional role that emoji and hashtags play in online social movements. In an effort to fill this gap, the current paper studies both hashtags and emoji in the context of the Twitter discourse around the Black Lives Matter movement. (shrink)

This paper presents five studies on the development and validation of a scale of intellectual humility. This scale captures cognitive, affective, behavioral, and motivational components of the construct that have been identified by various philosophers in their conceptual analyses of intellectual humility. We find that intellectual humility has four core dimensions: Open-mindedness (versus Arrogance), Intellectual Modesty (versus Vanity), Corrigibility (versus Fragility), and Engagement (versus Boredom). These dimensions display adequate self-informant agreement, and adequate convergent, divergent, and discriminant validity. In particular, Open-mindedness (...) adds predictive power beyond the Big Six for an objective behavioral measure of intellectual humility, and Intellectual Modesty is uniquely related to Narcissism. We find that a similar factor structure emerges in Germanophone participants, giving initial evidence for the model’s cross-cultural generalizability. (shrink)

Virtues are dispositions that make their bearers admirable. Dispositions can be studied scientifically by systematically varying whether their alleged bearers are in (or take themselves to be in) the dispositions' eliciting conditions. In recent decades, empirically-minded philosophers looked to social and personality psychology to study the extent to which ordinary humans embody dispositions traditionally considered admirable in the Aristotelian tradition. This led some to conclude that virtues are not attainable ideals, and that we should focus our ethical reflection and efforts (...) more on jerry-rigging our environments than on improving our characters. Most virtue ethicists resisted this reorientation. However, much of the scientific evidence on which the controversy was based has failed to replicate, raising the question of how much faith we should place in methodologically suspect studies. In this paper, I assess the state of the debate and recommend best practices for a renewed interdisciplinary investigation of virtues and vices in which philosophical expertise related to conceptualization and theorizing is essentially intertwined with scientific expertise related to operationalization, measurement, and statistics. (shrink)