In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 200-202 [Access article in PDF] Bennett Reimer, A Philosophy of Music Education:advancing the Vision, Third Edition. (upper Saddle River, New Jersey: Prentice In his third and greatly revised edition of A Philosophy of Music Education, Bennett Reimer fulfills the promise of his subtitle, Advancing the Vision. While incorporating essentials and a few passages of his previous edition, its thrust is to (...) present and argue for a new theory of musical intelligences. Here Reimer is pushing into a theoretical frontier, one that he sees as crucially relevant to the music education concerns that have so long been at the heart of his thinking.So although this is a new edition, third time around, of a classic in the field of philosophy of music education by one of its "elder statespersons," it is in many ways a new book. Reimer has never been a thinker to rest on his past achievements. He demonstrates here his ongoing curiosity about issues he has been wrestling with for decades. He engages in debate (as sympathetically as possible) with others who are also forging new ideas. Interacting with their ideas and his own former ones, he generates new ways of thinking about what is involved in musical composing, performing, listening, and theorizing. He uses all this as ground for challenging students and teachers of music to reflect on their own philosophical or pre-philosophical assumptions, their learning and teaching practices, and their [End Page 200] opportunities to make music even more meaningful in their lives and the lives of others. All this is informed by his evident (without his ever making an overt claim for it) love of music, love of philosophizing about music and music education, and his love of teaching about music. I will comment here on just some of the many notable features of the new edition.Reimer announces his approach as synergistic—that is, looking for areas of agreement beneath the surface of what seem to be radically opposing positions (between absolutism and relativism concerning musical value, for instance). What is especially noteworthy is that he demonstrates this moderation throughout his book. This does not lead to his being uncritical; in fact, he is highly critical of some stances and in Chapter 1 makes a devastating attack on postmodernism in music education. But generally he seeks to find what is worthwhile in the views of others and what he can assimilate from their thinking.While valuing musical performance and especially the successful record on teaching performance in American schools, Reimer believes that music education should have much wider concerns: to provide the groundwork for students interested in composing, conducting, improvising, arranging, reviewing, theorizing, and above all listening. Listening, he persuasively argues, is the core skill for all the other activities or roles, and it is also the skill probably most useful in the long run for the greatest number of students. Few, after all, will go on to become professional performers or music creators in some other role, and not many will even become highly competent performing amateurs. But almost everyone can develop some skills in active listening, and they deserve the attention in music education that has been mostly lacking. In the program Reimer advocates, the largest potential student population will become (in his aptly chosen term) aficionados—intelligent, discriminatory listeners. Some of this is attended to in colleges and universities, but by then the opportunity for many has passed.Building on Howard Gardner's theory of multiple intelligences, Reimer points out the limitations of analysis in terms of simply one musical intelligence. The abilities needed for musical activities are not all the same, even though they have the common requirement of listening skill. The notion of multiple musical intelligences (specifically composing, performing, improvising, listening, music theory, musicology, and music teaching) provides a rich basis and suggests new possible methods for broadening music education at all school levels. It also indicates a worthwhile area both for future research and for application beyond the field of music. Education, Reimer says, should be thought of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 200-202 [Access article in PDF] Bennett Reimer, A Philosophy of Music Education:advancing the Vision, Third Edition. (upper Saddle River, New Jersey: Prentice In his third and greatly revised edition of A Philosophy of Music Education, Bennett Reimer fulfills the promise of his subtitle, Advancing the Vision. While incorporating essentials and a few passages of his previous edition, its thrust is to (...) present and argue for a new theory of musical intelligences. Here Reimer is pushing into a theoretical frontier, one that he sees as crucially relevant to the music education concerns that have so long been at the heart of his thinking.So although this is a new edition, third time around, of a classic in the field of philosophy of music education by one of its "elder statespersons," it is in many ways a new book. Reimer has never been a thinker to rest on his past achievements. He demonstrates here his ongoing curiosity about issues he has been wrestling with for decades. He engages in debate (as sympathetically as possible) with others who are also forging new ideas. Interacting with their ideas and his own former ones, he generates new ways of thinking about what is involved in musical composing, performing, listening, and theorizing. He uses all this as ground for challenging students and teachers of music to reflect on their own philosophical or pre-philosophical assumptions, their learning and teaching practices, and their [End Page 200] opportunities to make music even more meaningful in their lives and the lives of others. All this is informed by his evident (without his ever making an overt claim for it) love of music, love of philosophizing about music and music education, and his love of teaching about music. I will comment here on just some of the many notable features of the new edition.Reimer announces his approach as synergistic—that is, looking for areas of agreement beneath the surface of what seem to be radically opposing positions (between absolutism and relativism concerning musical value, for instance). What is especially noteworthy is that he demonstrates this moderation throughout his book. This does not lead to his being uncritical; in fact, he is highly critical of some stances and in Chapter 1 makes a devastating attack on postmodernism in music education. But generally he seeks to find what is worthwhile in the views of others and what he can assimilate from their thinking.While valuing musical performance and especially the successful record on teaching performance in American schools, Reimer believes that music education should have much wider concerns: to provide the groundwork for students interested in composing, conducting, improvising, arranging, reviewing, theorizing, and above all listening. Listening, he persuasively argues, is the core skill for all the other activities or roles, and it is also the skill probably most useful in the long run for the greatest number of students. Few, after all, will go on to become professional performers or music creators in some other role, and not many will even become highly competent performing amateurs. But almost everyone can develop some skills in active listening, and they deserve the attention in music education that has been mostly lacking. In the program Reimer advocates, the largest potential student population will become (in his aptly chosen term) aficionados—intelligent, discriminatory listeners. Some of this is attended to in colleges and universities, but by then the opportunity for many has passed.Building on Howard Gardner's theory of multiple intelligences, Reimer points out the limitations of analysis in terms of simply one musical intelligence. The abilities needed for musical activities are not all the same, even though they have the common requirement of listening skill. The notion of multiple musical intelligences (specifically composing, performing, improvising, listening, music theory, musicology, and music teaching) provides a rich basis and suggests new possible methods for broadening music education at all school levels. It also indicates a worthwhile area both for future research and for application beyond the field of music. Education, Reimer says, should be thought of... (shrink)

It has been fashionable in the generalist literature to argue that the Ottomans lacked knowledge in European geography and politics. This chapter first offers some comments regarding Istanbul's understanding of geography and environment in the context of Ottoman strategy and frontier warfare. The, it presents a short overview of the importance of rivers, marshlands and mountains with regard to the formation of the opposing Hapsburg and Ottoman defence systems in Hungary. The last part of the chapter deals with the relationship (...) between landscape, climate and fortifications and offers some preliminary results and tentative observations regarding deforestation and marshlands. The discussion also argues, although in somewhat different ways, that the Ottomans and their Hapsburg rivals both had a keen interest in geography and mapped their empires and resources, and possessed adequate information as to the terrain and river systems of their lands and frontiers. (shrink)

Vietnam’s forests are at risk - carbon offset schemes could be the best chance of saving them, say Dr. Quan-Hoang Vuong and Minh-Hoang Nguyen. The value of forests is deeply ingrained in Vietnamese culture. Rừng vàng, biển bạc” [“forests of gold and seas of silver”] is both a metaphor for Vietnam, and a description of its natural wealth. The phrase is everywhere, from political speeches to daily conversation, as is Nhất phá sơn lâm, nhì đâm hà bá [“the worst crime (...) is to destroy the mountains and forests, the second worst is to kill the river”]. Deforestation is a Vietnamese taboo. (shrink)

We introduce a new allocation rule, called the sequential equal surplus division for rooted forest TU-games. We provide two axiomatic characterizations for this allocation rule. The first one uses the classical property of component efficiency plus an edge deletion property. The second characterization uses standardness, an edge deletion property applied to specific rooted trees, a consistency property, and an amalgamation property. We also provide an extension of the sequential equal surplus division applied to the problem of sharing a (...) class='Hi'>river with bifurcations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 51-56 [Access article in PDF] KarraKarrawirraparri-River Red Gum-Eucalyptus Camaldulensis Vivonne Thwaites [Figures]Karra was a visual arts project devised for the 2000 Adelaide Festival in Australia. Its focus was the River Red Gum, quite justifiably an Australian icon, and once the most widespread tree in south eastern Australia. The project comprised an installation by three artists and a forty-page publication with essays (...) and visual material from many contributors.The intention of the project (which I developed and oversaw as curator) was twofold. First, I hoped that an examination of the River Red Gum from a number of points of view might help people connect with the tree itself, and more broadly with this place non-Aboriginal Australians so uneasily inhabit. Second, given the tree's central place in Australia's inland waterways, I wanted the art to help people consider the urgent problems facing this ecosystem, such as increased salinity, diminished water flow and environmental degradation. This subject had particular relevance for South Australians, as our state is so dependent on the Murray-Darling River system. For example, in February 1999 the Commonwealth Scientific and Industrial Research Organisation published a media release on "Salt: Australia's Greatest Battle," declaring that we stand to lose a large fraction of our native biodiversity to salinity, and that native tress "remain the front line answer." [End Page 51]Behind the Festival Centre lies the River Torrens and the Adelaide Plains. Along the river are several gnarled old trees, River Red Gums, some of them predating white settlement and bearing the scars of Aboriginal timber collecting activities. The media was full of stories about the way these trees were still being cut down along the Murray further out, regardless of their proven value in filtering water and reducing salinity. The theme of the 2000 Festival was "The New Out of the Old," and it seemed that a project about the relevance of these beautiful old trees would help educate and inspire. We found the subject for the Festival project right in our own backyard.Once committed to the subject, research could begin. First up was the tree's Aboriginal history. The Kaurna people, original inhabitants of the Adelaide Plains, called it Karra or more fully, Karrawirraparri (literally 'redgum-forest-river'). The tree was central to their lives as source of food and shelter, and supplier of timber for shields and other implements. There are incised shields of Red Gum in the South Australian Museum, and delicate drawings of the tree by Jim Kite. The tree's place in Australia's white history can be traced back to explorer's journals where, variously named, it was described as a welcome sign of the presence of a watercourse. More recently it appears in the natural history writing of Eric Rolls and others (Rolls 2002). Ironically the tree's botanical name, Eucalyptus camaldulensis, originated in 1832, when a botanist admired and named a single specimen grown by monks outside Naples, Italy. The eucalyptus was already spreading in 1832.Early in the research it became clear that the Red Gum tree, and the complex set of natural and cultural interactions it engendered, could be seen as a symbol of human interactions with the land in Australia. The tree was much discussed and much loved by Australians, but also much abused. It seemed that bringing together different systems of understanding and representation of the tree could help contemporary urban Australians begin to understand their own connections to it, and to the land as well. This was the broader cultural agenda of the project.Preparing the art exhibition required a wide reading of literature. Les Murray's poem, "The Gum Forest," one of the greatest 20th - century Australian poems, was inspirational: After the last gapped wire on a post, homecoming for me, to enter the gum forest. (1998, 33) [End Page 52] [Begin Page 54]So too was Murray Bail's book Eucalyptus: By sheer numbers there's always a bulky Red Gum here or somewhere else in the wide world, muscling into the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 51-56 [Access article in PDF] KarraKarrawirraparri-River Red Gum-Eucalyptus Camaldulensis Vivonne Thwaites [Figures]Karra was a visual arts project devised for the 2000 Adelaide Festival in Australia. Its focus was the River Red Gum, quite justifiably an Australian icon, and once the most widespread tree in south eastern Australia. The project comprised an installation by three artists and a forty-page publication with essays (...) and visual material from many contributors.The intention of the project (which I developed and oversaw as curator) was twofold. First, I hoped that an examination of the River Red Gum from a number of points of view might help people connect with the tree itself, and more broadly with this place non-Aboriginal Australians so uneasily inhabit. Second, given the tree's central place in Australia's inland waterways, I wanted the art to help people consider the urgent problems facing this ecosystem, such as increased salinity, diminished water flow and environmental degradation. This subject had particular relevance for South Australians, as our state is so dependent on the Murray-Darling River system. For example, in February 1999 the Commonwealth Scientific and Industrial Research Organisation published a media release on "Salt: Australia's Greatest Battle," declaring that we stand to lose a large fraction of our native biodiversity to salinity, and that native tress "remain the front line answer." [End Page 51]Behind the Festival Centre lies the River Torrens and the Adelaide Plains. Along the river are several gnarled old trees, River Red Gums, some of them predating white settlement and bearing the scars of Aboriginal timber collecting activities. The media was full of stories about the way these trees were still being cut down along the Murray further out, regardless of their proven value in filtering water and reducing salinity. The theme of the 2000 Festival was "The New Out of the Old," and it seemed that a project about the relevance of these beautiful old trees would help educate and inspire. We found the subject for the Festival project right in our own backyard.Once committed to the subject, research could begin. First up was the tree's Aboriginal history. The Kaurna people, original inhabitants of the Adelaide Plains, called it Karra or more fully, Karrawirraparri (literally 'redgum-forest-river'). The tree was central to their lives as source of food and shelter, and supplier of timber for shields and other implements. There are incised shields of Red Gum in the South Australian Museum, and delicate drawings of the tree by Jim Kite. The tree's place in Australia's white history can be traced back to explorer's journals where, variously named, it was described as a welcome sign of the presence of a watercourse. More recently it appears in the natural history writing of Eric Rolls and others (Rolls 2002). Ironically the tree's botanical name, Eucalyptus camaldulensis, originated in 1832, when a botanist admired and named a single specimen grown by monks outside Naples, Italy. The eucalyptus was already spreading in 1832.Early in the research it became clear that the Red Gum tree, and the complex set of natural and cultural interactions it engendered, could be seen as a symbol of human interactions with the land in Australia. The tree was much discussed and much loved by Australians, but also much abused. It seemed that bringing together different systems of understanding and representation of the tree could help contemporary urban Australians begin to understand their own connections to it, and to the land as well. This was the broader cultural agenda of the project.Preparing the art exhibition required a wide reading of literature. Les Murray's poem, "The Gum Forest," one of the greatest 20th - century Australian poems, was inspirational: After the last gapped wire on a post, homecoming for me, to enter the gum forest. (1998, 33) [End Page 52] [Begin Page 54]So too was Murray Bail's book Eucalyptus: By sheer numbers there's always a bulky Red Gum here or somewhere else in the wide world, muscling into the... (shrink)

In Midstream, photographer Richard Wasserman documents the entire length of the 156-mile Chicago River and gives readers a glimpse into a mostly hidden landscape. As the twentieth century was drawing to a close and the city's industrial manufacturing era was rapidly waning, Wasserman took note of increased efforts to clean, beautify, and conserve the river, and he felt an urgent need to preserve the memory of Chicago's brawling past. As the project progressed and the photographer found himself captivated (...) by the river's extraordinarily diverse uses and visually rich landscape, he grew determined to capture the river in its entirety, in its varying moods and seasons, and from every possible vantage point during a time of rapid transformation. Midstream is the culmination of this ten-year project, in which there was always one more location to explore and another moment to capture. The result is a remarkable record of the Chicago River, revealing the nature of the waterway as it changed throughout the seasons and in relation to the dramatic extremes of Chicago weather. Scenes that had been hidden by foliage in the summer were unveiled in the winter when the trees shed their leaves. During dry spells when the water level fell, artifacts that were usually submerged became visible and offered tantalizing hints of the past. Wasserman's experiences along the riverbanks varied by location: in forest preserves he captured images of deer, beaver, and muskrats in the midst of idyllic flora; in dense urban areas his subjects were nineteenth-century factories and warehouses, many of which have been converted to offices and apartments, standing shoulder to shoulder with gleaming new office towers and condominium buildings. With an essay by Julia S. Bachrach, Midstream will be a significant resource and a lasting documentation of the Chicago River during the first decade of the twenty-first century. (shrink)

The article analyses a transdisciplinary wicked upstream–downstream conflict over water allocation in an arid region of Inner Mongolia. This conflict is about scarce water resources which can be either allocated to irrigation agriculture upstream or to preservation and restoration a rare ecosystem downstream. This conflict is located at the interface of environmental and agricultural ethics. The case study is about Heihe River, agricultural demands for irrigation in the region of Zhangye, and endangered Tugai forest at downstream Heihe in (...) Ejina oasis. Authors use a theoretical approach of environmental philosophy and rely on the concept of ‘strong sustainability’. From this background two normative yardsticks are derived: a constant natural capital rule and the overall satisfactory goodness of a river basin. Both yardsticks are not met at Heihe. Downstream, we see the endangered Tugai forest as a location which should be preserved de re. We argue for a viable institutional water saving strategy within the agricultural areas of Zhangye district by which Tugai forests at downstream Heihe might be restored. Our case study indicates that even wicked problems can find proper and prudent solutions. (shrink)

Viruses are major drivers of global biogeochemistry and the etiological agents of many diseases. They are also the winners in the game of life: there are more viruses on the planet than cellular organisms and they encode most of the genetic diversity on the planet. In fact, it is reasonable to view life as a viral incubator. Nevertheless, most ecological and evolutionary theories were developed, and continue to be developed, without considering the virosphere. This means these theories need to be (...) to reinterpreted in light of viral knowledge or we need to develop new theory from the viral point-of-view. Here we briefly introduce our viral planet and then address a major outstanding question in biology: why is most of life viral? A key insight is that during an infection cycle the original virus is completely broken down and only the associated information is passed on to the next generation. This is different for cellular organisms, which must pass on some physical part of themselves from generation to generation. Based on this premise, it is proposed that the thermodynamic consequences of physical information (e.g., Landauer’s principle) are observed in natural viral populations. This link between physical and genetic information is then used to develop the Viral Information Hypothesis, which states that genetic information replicates itself to the detriment of system energy efficiency (i.e., is viral in nature). Finally, we show how viral information can be tested, and illustrate how this novel view can explain existing ecological and evolutionary theories from more fundamental principles. (shrink)

The Dutch microbiologist/biochemist Albert Jan Kluyver was an early proponent of the idea of biochemical unity, and how that concept might be demonstrated through the careful study of microbial life. The fundamental relatedness of living systems is an obvious correlate of the theory of evolution, and modern attempts to construct phylogenetic schemes support this relatedness through comparison of genomes. The approach of Kluyver and his scientific descendants predated the tools of modern molecular biology by decades. Kluyver himself is poorly recognized (...) today, yet his influence at the time was profound. Through lens of today however, it has been argued that the focus by Kluyver and others to create taxonomic and phylogenetic schemes using morphology and biochemistry distorted and hindered progress of the discipline of microbiology, because of a perception that the older approaches focused too much on a reductionist worldview. This essay argues that in contrast the careful characterization of fundamental microbial metabolism and physiology by Kluyver made many of the advances of the latter part of the twentieth century possible, by offering a framework which in many respects anticipated our current view of phylogeny, and by directly and indirectly training a generation of scientists who became leaders in the explosive growth of biotechnology. (shrink)

Geographical features and cultural traits influence the character of big-mountain tourism in Alaska. This research considers the intersectionality of wilderness and frontier concepts on tourism culture, examines guides’ and clients’ motivations for participation, and relates these influences to the larger phenomena of tourism generally and nature tourism specifically. The findings show that Alaska’s big-mountain tourism is globalized in its political and economic scope. Guides imagine themselves as pioneers on a last frontier of mountain pursuits, notions that relate well to images (...) depicted of the region in literature and promoted by the tourism industry. Clients, on the other hand, come to Alaska because of its exceptional geography and unique mountain sporting culture, but are not as enamored with the mythos of the frontier. (shrink)

It is currently estimated that more than 1 billion animals are killed for the fur industry every year. This industry is estimated to be valued in the region of $40 billion. This indicates both that there is a moral imperative and an economic opportunity to explore alternatives to conventional fur. While faux fur is currently available on the market, its production is associated with environmentally destructive practices. The development of stem cell technologies provides an exciting new avenue to explore. Specifically, (...) the use of induced pluripotent stem cells may provide a means of growing fur in a laboratory setting. Here we outline the proposed technology and methods. We consider and respond to a number of potential moral objections against pursuing this innovative possibility, arguing that the benefits such technology could bring to animals in the fur industry are too great to be ignored. (shrink)

This paper offers a novel argument for superspace substantivalism. _Superspace_ is a modified spacetime represented formally through combining ordinary spatial dimensions with anticommuting dimensions whose coordinates are labelled in Grassmann numbers rather than real numbers. At supersymmetric worlds, physical laws exhibit _supersymmetry_—viz., a symmetry that transforms bosons into fermions and vice versa. _Superspace substantivalism_ is the thesis that, at supersymmetric worlds, among the most fundamental structures is superspace. Initially, the focus will be on a prevalent doctrine in the philosophy of (...) physics literature which I call the _mimetic ideal_. On the mimetic ideal, interpreting physical theories aims primarily at specifying their _ontology_, namely at achieving accurate _reference_ (in natural-language accounts of those theories) or _representation_ (in model-theoretic portrayals of those theories) with respect to aspects of physical reality. However, I show that the mimetic ideal doesn’t seem able to account for important aspects of physics practice (Sect. 2 ). In Sect. 3, therefore, I articulate and defend a new, _diegetic ideal_, according to which the interpretation of physical theories should aim at _perspectival coordination_ between interpreters and practising physicists. Perspectival coordination, in the context of interpreting physical theories, means that interpreters and practising physicists share a perspective or a point of view on some aspect of physical reality described by that theory. In Sect. 4, I apply this analysis to the study of supersymmetric quantum field theories (QFTs): reframing the realist framework which underlies Baker’s (2020) agnosticism, I examine the exciting upshot that superspace substantivalism is true. I conclude with some reflections on what perspectival coordination means for realism (Sect. 5 ). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Dialogue:The Principle of Civility in Academic DiscourseForest HansenSeveral months ago New York Times columnist David Brooks addressed the lack of civility in recent public discourse. "So... you get narcissists who believe they or members of their party possess direct access to the truth.... You get people who prefer monologues to dialogue.... You get people who... loathe their political opponents."1One might think that by contrast academia, and especially academic (...) publications, would provide a bastion of civil discourse. Alas, even academia has been infiltrated. At least it so appears to me when I read some of what has been recently published in the name of the philosophy of music education.I find that disheartening.However one defines "philosophy," it minimally entails raising questions whose answers are reasonably debatable. The key word here is "reasonably." Those who are committed to philosophical activity criticize positions they oppose by formulating arguments, giving examples, calling on accepted facts, clarifying the meaning of terms, and bringing to bear the principles of formal and informal logic. And thus they open themselves to counter-criticism of the same [End Page 198] sort. Nowhere in this enterprise is there need—or room—for invective, sarcasm, name-calling, ad hominems, or any other kind of personal abuse. One might call this The Principle of Civility in Academic Discourse.Philosophy differs in this respect from polemics. In one of its senses "polemics" means "the art or practice of disputation or controversy," and so seems a close cousin to philosophy. However, while "philosophy" traces its etymological roots to "love" and "wisdom," "polemics" is derived from "war." Polemics is a kind of verbal warfare. Typically polemicists are willing to use any tool at their disposal—even underhanded ones—to "win" the war of ideas. Polemics in this usual sense dispenses with objectivity and fairness (though it may make such a pretense). In fact, people who mount personal attacks thereby reveal their lack of philosophical tools and diminish their argument.Distinguishing philosophy from polemics does not mean that all philosophical claims are equal. Some positions are stronger than others, some weaker. Some can be dismissed relatively out of hand if they are illogical or do not square with normal experience. But even when positions are inadequate, the persons who advance the positions deserve to be treated with courtesy, respect, and collegiality.Typically, people trained in philosophy assimilate this principle as a matter of course. They have learned that over the centuries great minds have disagreed about every philosophical issue—whether the make-up of ultimate reality, the nature and sources of knowledge, the existence of god, the justification of morality. So too with what the nature of music is, what music should be taught and how, what is the purpose of music education.No one has a corner on the answers to such questions. The floor should always be open to debate—to consideration of new proposals and reconsideration of old ones. In disciplines where some matters are more or less settled (as in natural science and mathematics), such arguments disappear and new quests hope to find new settled answers. But in philosophy, more fundamentally than in any other traditional academic discipline, the discussion, the reasoned argumentation, is ongoing.Many years ago Douglas Morgan, in his essay "Must Art Tell the Truth"2 eloquently captured this spirit of philosophy:Philosophy is itself to be conceived as an invitational, dialectical activity rather than as any system of dicta. A philosopher can be thought of as [one] who, far from commanding assent with any thunderous barrage of argumentative artillery, invites you to think [about] the world or some aspect of it in a somewhat different way. "Come in," [the philosopher] says cordially, "and welcome. Sit down. Let me mix you an idea. Sip this thought, and tell me how your own experience looks. If you should find my way of construing our [End Page 199] world unappetizing or unpromising, pray show me your way. Let us once again in the good old Greek way, dia-lego, talk it through together."Finally, The Principle of Civility in Academic Discourse ought to be conveyed in our classrooms, as we foster new generations in... (shrink)

This article considers the role of beauty in Costa Rican sex work. In the context of sex tourism, beauty operates as affective labour performed by sex workers, labour that is mediated by deeply contradictory understandings of race and nation. Theorising beauty as a form of affective labour means thinking about beauty as value, as something that circulates, can be exchanged and is ultimately relational. While Costa Rica's national mythology has long focused on claims to white origins, sex tourists identify local (...) women's ‘exoticism’ and non-whiteness as particularly appealing. Commercial sex does not simply depend on an imperial male gaze, but rather requires us to consider how particular national mythologies about race are linked to ideals of attractiveness in complex ways. I also explore how women experience and manage their sexual attractiveness to foreign tourists in their daily lives and work. (shrink)

Joseph Priestley, the eighteenth-century scientist who discovered oxygen, was one of the most remarkable thinkers of his time. This collection of essays by a team of experts covers the full range of his work in the fields of education, politics, philosophy, and theology, and firmly re-establishes him as a major intellectual figure.

In lieu of an abstract, here is a brief excerpt of the content:In MemoriamForest HansenKingsley Blake Price, Professor of Philosophy at The Johns Hopkins University for more than three decades, died in Baltimore on October 27, 2009, at the age of 92. He had long served as an editorial consultant for PMER and participated in numerous PME international symposia. His personal and academic life drew admiration from his colleagues, students, and friends (overlapping classes).Kingsley was born in Salem, Indiana, where his (...) father was a Baptist minister. The family moved from there to California, and Kingsley grew up in Berkeley. He earned his B.A. with highest honors from University of California, Berkeley (1938) and went on there for his M.A. (1942) and Ph.D. (1946). His dissertation was on Locke’s theory of knowledge. Kingsley taught first at the University of Washington, then at the University of Nevada and Sarah Lawrence College (where he became a good friend of Susanne Langer) before becoming an assistant professor of philosophy and education at Hopkins in 1953. He retired from Hopkins in 1986. In the meantime he published books and articles, presented invited papers, and traveled extensively, especially to England, France, Italy, and Greece. In 1973–74 he was president of the Philosophy of Education Society.What is especially remarkable about this is that Kingsley became blind at the age of four, as a result of undiagnosed scarlet fever. For the rest of his life he was dependent upon others to read to him (he was never keen on taped readings, and was a consultant to the Library of Congress concerning recordings for the blind). He also needed others to help him with daily practical tasks. Yet he remained fiercely independent and lived alone until his death. He did not use a seeing-eye dog and only rarely a white cane.Besides his two books, Education and Philosophical Thought (1962) and On [End Page 194] Criticizing Music (1982), Kingsley published numerous articles and reviews in the Journal of Philosophy, the Review of Metaphysics, the Journal of Aesthetics and Art Criticism, Educational Theory, the British Journal of Aesthetics, the Philosophy of Music Education Review, and others. His publications were mostly on topics of art (especially music) and education. He had long been working on a manuscript of reflections upon the alleged emotional qualities of music. Kingsley criticized other theories as having inconsistent of otherwise insupportable claims. Some of his former students hope to bring this work to fruition as a book.Kingsley took piano lessons as a youngster and, typically, excelled. As a teenager he placed second in a Major Bowes Amateur Hour radio competition and considered a career as a concert pianist. When one former student asked why he had not pursued that, Kingsley replied that philosophy was more in need of an excellent philosopher than music was of an only good pianist.A February memorial for Kingsley was postponed because of a blizzard in the Baltimore area. On April 25, 2010, former graduate students, readers, colleagues, and friends—some from as far away as California, Wyoming, Hawaii, and Florida—gathered in Baltimore to honor Kingsley and share their remembrances. Besides their expressions of admiration for his philosophical acumen and his rigorous teaching, people noted Kingsley’s high moral principles, his wide range of interests in the humanities, his commitment to efforts promoting world peace, and his connoisseurship in gardening and antique furniture. Many graduate students rode with him on his tandem bicycle, and later invited him to give papers at their colleges. He was a meticulous dresser and was proud of his bow ties, his four-in-hands, and his beret. Besides such personal testimonies by those present, letters by family members, friends abroad, former graduate students, and other friends were read. Photographs were on display, and recordings of some of Kingsley’s favorites by Bach, Schubert, and Vaughan Williams were played.Above all, Kingsley was that rare professor who maintained friendship with many of his students. He is survived by an older brother, two sisters, and numerous nephews, nieces, and their offspring. And by his many friends for whom his life has made a lasting impact. [End Page 195]Forest HansenEaston, Maryland Professor Emeritus, Lake Forest College forestval2... (shrink)

Aesthetic experience as a determining factor in music appreciation has lost salience in recent years, especially in philosophy of music education. Markand Thakar, music director of the Baltimore Chamber Orchestra and Duluth Superior Symphony Orchestra and co-director of graduate conducting at Peabody Conservatory, has written a book subtitled An Investigation into Musical Beauty. In a series of dialogues between a talented music student and a wise professor, he equates beauty with the aesthetic experience and cites this as the hallmark of (...) masterpieces in Western music of the seventeenth to twentieth centuries. The author reviews Thakar’s book, notes similarities and differences with Bennett Reimer’s philosophy, and defends the theory against the mandates of praxialism. (shrink)