of democratizing social inquiry by actively engaging the subject in the design and conduct of research. Drawing on four examples of PAR-based social science and a democratic reconstruction of "epistemic privilege," this article argues that philosophers need to take seriously PAR's notion that democratic norms should guide social inquiry. But it does not advocate replacing mainstream or expert-directed social science by PAR. Instead, it maintains that it is both possible and sensible for PAR practitioners to collaborate with conventional research. Indeed, (...) certain forms of nonparticipatory social science seem indispensable for any extensive application of the PAR framework. The article concludes by drawing out its (controversial) implications for two central issues in the philosophy of social science: first, that the methods of social inquiry are distinct from those in the natural sciences and, second, that there is a sense in which social research can and should be "value neutral.". (shrink)

I am very sorry that you were distressed by the “critical tone” of my essay; and I apologize if it was in any way offensive. Though I am afraid that our disagreements remain, it would take another article to reply to the paper you enclosed. Of course, I have no objections to your sending your MS to the editor of Critical Inquiry, if you have not already done so.) But let me at least try to pinpoint our differences as I (...) see them. Leonard B. Meyer's most recent book is Explaining Music: Essays and Explanations. He is also the author of Emotion and Meaning in Music, The Rhythmic Structure of Music , and Music, The Arts, and Ideas, awarded the Laing Prize in 1969. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Chiao-Wei Liu, "Response to Leonard Tan and Mengchen Lu, 'I Wish to be Wordless': Philosophizing through the Chinese Guqin," Philosophy of Music Education Review 26, no. 2 (Fall, 2018): 199–202Leonard Tan and Mengchen LuChiao-Wei Liu's response to our paper raised important issues regarding the translation and interpretation of Chinese philosophical texts, our construals of Truth and ethical awakening, differences between the various Chinese philosophical traditions, and (...) the importance of recognizing students' selves as music educators work with them through diverse musical traditions. In this paper, we respond to each of these issues in turn.Liu rightly pointed out that the translation and interpretation of classical Chinese texts is complex. To support her argument, she cited a phrase from the [End Page 210] Zhuangzi that was quoted in our paper ("The fish trap exists because of the fish; once you've gotten the fish, you can forget the trap") and noted that it has often been used "to attribute to one's ungrateful attitude after receiving help from others."1 Taken on its own as a standalone, this reading appears plausible. Our interpretation, however, takes into account the quote in its original context:荃者所以在魚，得魚而忘荃；The fish trap exists because of the fish; once you've gotten the fish you can forget the trap.蹄者所以在兔，得兔而忘蹄；The rabbit snare exists because of the rabbit; once you've gotten the rabbit, you can forget the snare.言者所以在意，得意而忘言。Words exist because of meaning; once you've gotten the meaning, you can forget the words.吾安得忘言之人而與之言哉？Where can I find someone who has forgotten words so I can talk with the person?"2In each of the first three phrases, there are six characters followed by five. This pattern indicates that the first three phrases should be read as a whole rather than independently, which then lead to the final phrase–the playful climax which reveals that Zhuangzi's purpose here is to discuss language. The fish trap and rabbit snares are metaphors for words, while the fish and the rabbit are metaphors for meaning. Each of the first three phrases convey the same idea that if we get overly hung up on the means (that is, the fish trap, the rabbit snare, and words), we will never get to the Dao. Taken as a whole, the passage conveys the idea of words being mere means to the Dao, rather than the Dao itself, which supports the central theme of our paper: Philosophizing without words. Indeed, as Liu noted, the translation and interpretation of Chinese philosophical texts is a complex one, to which we add the importance of context.In our paper, we drew on the Buddhist notion of mingxin jianxing (明心見性) to explain how a guqin player quietly and meditatively clears her heart-mind before playing the instrument so that she can search for Truth within and discover her innermost self. Extending and adapting our ideas for contemporary music education, we proposed that music education is not just an outward journey to learn about composers, but also an inward one to learn about the self. Liu's construal of our work as claiming that "Truth does not reside within the [End Page 211] performer or the music, but is located in the space where the two are in sync" and also that "qualities aligned with the music are ethically good, whereas those that differ are not"3 extend our writing in ways we did not intend. Quite on the contrary, we agree with Liu that different students have different needs, hence our proposition for students to search inwards and discover themselves.In like vein, we agree with Liu that "when music learning becomes a means of assimilating toward one prescribed/predetermined standard, regardless of students' lived realities or how they make sense of the world, teaching then ceases to be moral."4 As noted in our paper, we are not in favor of a standards-based approach to music education that is rigid; similarly, we do not advocate the prescription of moral standards. The moral stories associated with the guqin tradition are heuristic; they aim to inspire ethical awakening, not to impose moral standards, and are therefore neither mechanistic nor to be... (shrink)

Abstract:In this paper, I offer my reading of John Dewey's Art as Experience and propose implications for music education based on Dewey's ideas. Three principal questions guide my task: What are some key ideas in Dewey's theory of art? How does Dewey's theory of art fit within his larger theory of experience? What are the implications of Dewey's ideas for music education? As I shall show, art for Dewey is rooted in nature, civilizes humans, serves as social glue, and has (...) an important role in society throughout most of human history. Modern life, however, separates art and life; there is a need to restore the continuity between art and the ordinary processes of living, a task that Dewey undertakes by positing the notion of art as experience. Dewey's ideas support an expanded curriculum in music education, one in which popular music may be included alongside Western classical music and music from diverse cultures. However, artistic and educational discernment are needed, which necessitates the need for music educators to be sufficiently steeped in varied musical traditions and styles. (shrink)

After reviewing the original motivation for the formulation of string theory and what we learned from it, I discuss some of the implications of the holographic principle and of string dualities for the question of the building blocks of nature.

Which animals have conscious experiences? Many different, diverse and unrelated behaviors and cognitive capacities have been proposed as tests of the presence of consciousness in an animal. It is unclear which of these tests, if any, are valid. To remedy this problem, I develop a list consisting of eight desiderata which can be used to assess putative tests of animal consciousness. These desiderata are based either on detailed analogies between consciousness-linked human behavior and non-human behavior, on theories of consciousness or (...) on methods from human consciousness science. If a test or set of tests satisfies more of these desiderata, passing it provides stronger evidence of consciousness. Moreover, one can design future tests of animal consciousness with the intention of satisfying these desiderata to ensure their evidential strength. (shrink)

According to a common view, sentience is necessary and sufficient for moral status. In other words, whether a being has intrinsic moral relevance is determined by its capacity for conscious experience. The _epistemic objection_ derives from our profound uncertainty about sentience. According to this objection, we cannot use sentience as a _criterion_ to ascribe moral status in practice because we won’t know in the foreseeable future which animals and AI systems are sentient while ethical questions regarding the possession of moral (...) status are urgent. Therefore, we need to formulate an alternative criterion. I argue that the epistemic objection is dissolved once one clearly distinguishes between the question what determines moral status and what criterion should be employed in practice to ascribe moral status. Epistemic concerns are irrelevant to the former question and—I will argue—criteria of moral status have inescapably to be based on sentience, if one concedes that sentience determines moral status. It follows that doubts about our epistemic access to sentience cannot be used to motivate an alternative criterion of moral status. If sentience turns out to be unknowable, then moral status is unknowable. However, I briefly advocate against such strong pessimism. (shrink)

The science of animal consciousness investigates (i) which animal species are conscious (the distribution question) and (ii) how conscious experience differs in detail between species (the quality question). We propose a framework which clearly distinguishes both questions and tackles both of them. This two-tier account distinguishes consciousness along ten dimensions and suggests cognitive capacities which serve as distinct operationalizations for each dimension. The two-tier account achieves three valuable aims: First, it separates strong and weak indicators of the presence of consciousness. (...) Second, these indicators include not only different specific contents but also differences in the way particular contents are processed (by processes of learning, reasoning or abstraction). Third, evidence of consciousness from each dimension can be combined to derive the distinctive multi-dimensional consciousness profile of various species. Thus, the two-tier account shows how the kind of conscious experience of different species can be systematically compared. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's book before sketching (...) four recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

How can one build AI systems such that they pursue the goals their designers want them to pursue? This is the alignment problem. Numerous authors have raised concerns that, as research advances and systems become more powerful over time, misalignment might lead to catastrophic outcomes, perhaps even to the extinction or permanent disempowerment of humanity. In this paper, I analyze the severity of this risk based on current instances of misalignment. More specifically, I argue that contemporary large language models and (...) game-playing agents are sometimes misaligned. These cases suggest that misalignment tends to have a variety of features: misalignment can be hard to detect, predict and remedy, it does not depend on a specific architecture or training paradigm, it tends to diminish a system’s usefulness and it is the default outcome of creating AI via machine learning. Subsequently, based on these features, I show that the risk of AI alignment magnifies with respect to more capable systems. Not only might more capable systems cause more harm when misaligned, aligning them should be expected to be more difficult than aligning current AI. (shrink)

Abstract:In classical Greek philosophy, the pursuit of Truth was done primarily through logical argumentation using language as “Truth tool.” The major thinkers in classical China, on the other hand, were famously suspicious of language, with Confucius declaring, “I wish to be wordless.” They turned instead to music to express the philosophically ineffable. In this paper, we use the example of the Chinese guqin to show how music serves as “Truth tool” in the Chinese philosophical tradition; in fact, music may be (...) Truth itself. Through a quartet of interrelated themes–namely, the “Search for Truth,” the “Search for Harmony,” the “Search for Ethical Awakening,” and the “Search for Sagehood”–we show how playing the guqin constitutes the doing of philosophy in this musical tradition. Through the guqin, performers and listeners experience Confucian, Daoist, and Buddhist philosophical insights; no words are needed. We conclude by proffering implications for contemporary music education. (shrink)

Illusionism about consciousness entails that phenomenal consciousness doesn’t exist. The distribution question concerns the distribution of consciousness in the animal kingdom. Skepticism of animal consciousness is the view that few or no kinds of animals possess consciousness. Thus, illusionism seems to imply a skeptical view on the distribution question. However, I argue that illusionism and skepticism of animal consciousness are actually orthogonal to each other. If illusionism is true, then phenomenal consciousness does not ground intrinsic value so that the non-existence (...) of phenomenal consciousness would not have ethical implications. In this case, the adequate reaction is to reformulate the distribution question in terms of the quasi-phenomenal functional features associated with the illusion of phenomenal consciousness which do ground intrinsic value. Hence, either illusionism is false or the distribution question does not concern phenomenal consciousness. In any case, illusionism does not directly tell us anything about the distribution question. However, since illusionism forces us to revise our traditional conception of consciousness, it indirectly affects research on animal consciousness by questioning that consciousness is a unified and an all-or-nothing property. (shrink)

In this article I will combine Erving Goffman’s sociology with some of the main aspects of Actor-Network Theory in order to outline a theatrical conception of social power. My first aim is to try to summarize the sociological perspective introduced by Kenneth Burke and then improved on by Erving Goffman to understand the face-to-face interactions of everyday life. Secondly, I will try to use the theatrical metaphor underlying this theoretical framework to describe power-over relations in everyday life. Thanks to the (...) combination of the dramaturgical theory proposed by Erving Goffman and the ‘object turn’ given to social theory by Actor-Network Theory, a theatrical conception of power allows the episodic, dispositional and systemic dimensions of power relations to be mapped respectively depending on the actors’ performances, their roles of power and the institutionalized scripts. Moreover, this theatrical representation of power-over relations is a defaced understanding of the phenomenon that enables us to investigate not only its different directional forms, but also their possible variants. (shrink)

It is shown that many different problems have the same degree of unsolvability. Among these problems are: THE INDUCTIVE INFERENCE PROBLEM. Infer in the limit an index for a recursive function f presented as f(0), f(1), f(2),.... THE RECURSIVE INDEX PROBLEM. Decide in the limit if i is the index of a total recursive function. THE ZERO NONVARIANT PROBLEM. Decide in the limit if a recursive function f presented as f(0), f(1), f(2),... has value unequal to zero for infinitely many (...) arguments. Finally, it is shown that these unsolvable problems are strictly easier than the halting problem. (shrink)

Among the objects discovered in the excavation of the temple of Athena Chalkioikos at Sparta is a small bronze figure of a trumpeter . Mr. Dickins, who says that the figure ‘can be dated without hesitation in the middle of the fifth century,’ regards ‘the presence of a trumpeter as a dedication in Sparta as perplexing, because the Spartans marched to battle to the sound of flutes, and made no use of trumpets for martial music’. This is, I think, the (...) view generally held. The purpose of this paper is to suggest a possible reason for the dedication of the trumpeter at the date, which the style of the work suggests. (shrink)

I was surprised to note the critical tone of the discussion which my friend Leonard B. Meyer recently devoted in these pages to an article on the relation of art and science that I wrote for a popular scientific magazine. For I had believed all the while that in my article I was merely presenting to a general scientific audience a watered-down version of what I thought were Meyer's own views. Evidently I was mistaken in that belief, though I (...) have been unable to fathom just where I went wrong in interpreting Meyer's earlier writings, which, more than any other source, are the provenance of my ideas about the nature of art. Gunther S. Stent, professor of molecular biology at the University of California, Berkeley, is the author of Molecular Biology of Bacterial Viruses, Phage and the Origin of Molecular Biology, Molecular Genetics: An Introductory Narrative, The Coming of the Golden Age: A View of the End of Progress, and many important scientific papers. In Concerning the Sciences, the Arts—AND the Humanities" , Leonard B. Meyer took issue with views expressed by Professor Stent in "Prematurity and Uniqueness in Scientific Discovery," published in Scientific American. (shrink)

A clash of civilizations has been perennial in human history, and today it is again taking the form of a more than thousand year old clash: The West and Islam. However, I want to argue that humanity now has the tools to transform that clash to cooperation, and not just occasionally, as in a few times and places in the past, dependent on the temporary benignity of a well-placed leader.

Few will, I think, doubt that the Trio from the Minuetto movement of Mozart's G Minor Symphony seems simple, direct, and lucid—even guileless. Its melodies are based upon common figures such as triads and conjunct diatonic motion. No hemiola pattern, often encountered in triple meter, disturbs metric regularity. With the exception of a subtle ambiguity..., rhythmic structure is in no way anomalous. There are no irregular or surprising chord progressions; indeed, secondary dominants and chromatic alterations occur very frequently. The instrumentation (...) is quite conventional, and no unusual registers are employed. In this essay, Leonard B. Meyer, Benjamin Franklin Professor of music and humanities at the University of Pennsylvania, further explores and details the significance of theories advanced in his book, Explaining Music: Essays and Explorations. His previous contribution to Critical Inquiry, "Concerning the Sciences, the Arts - AND the Humanities," appeared in our first issue. (shrink)

This article explores the relationship between consciousness and the historical urban space of the former Jewish Ghetto in Vilnius, Lithuania. This relationship is investigated primarily within the existentialist school of philosophy and takes its point of departure from Sartre’s ‘gaze’ or ‘look’ from his philosophical work, Being and Nothingness. Within this existentialist schematic the ‘look’ is methodologically sub-divided into i) ‘being looked at’ and ii) the ‘look looked at’. This paper further discerns the nuances of consciousness within the field of (...) phenomenology in terms of upsurges and decompressions when ‘being looked at’ in the Ghetto. That is, when walking its streets and ‘being seen’ by, and through the Ghetto’s windows. Subject is primarily understood as subdivided into Self, ‘I’ and ‘me’, thus rendering it as carrying a non-stable first-person perspective. (shrink)

Sensorimotor enactivism is the view that the content and the sensory modality of perceptual experience are determined by implicit knowledge of lawful regularities between bodily movements and patterns of sensory stimulation. A proponent of the explanatory argument for sensorimotor enactivism holds that this view is able to provide an intelligible explanation for why certain material realizers give rise to certain perceptual experiences, while rival accounts cannot close this “explanatory gap”. However, I argue that the notion of the “material realizer” of (...) perceptual experience is ambiguous. On a narrow construal, the explanatory gap cannot be bridged, not even by enactivism. On a wide construal, enactivism gets a grip on the explanatory gap, but to the same extent do established theories of consciousness. Thus, on both horns of the dilemma, the explanatory power of enactivism is not superior to more traditional theories of conscious experience. (shrink)

Whether animals fare well or not is of ethical significance. For this reason, their capacity for wellbeing, i.e., how good or bad the lives of animals can go, is of ethical significance as well. I assume that the wellbeing of most animals is mainly determined by their phenomenally conscious experiences. If consciousness differences between species determine wellbeing differences, then the kinds of conscious experience species are capable of may entail that some species systematically (can) have higher or lower wellbeing than (...) others. Then, I argue that not all phenomenally conscious states contribute to wellbeing equally. I discuss which features of consciousness are constituents of wellbeing and which can, for ethical purposes, be ignored. In addition, I scrutinize how much different features of experience contribute to wellbeing and how their presence can be detected empirically. This way, this paper exemplifies a novel consciousness-centered approach for the empirical investigation of animal wellbeing. The strengths and weaknesses of this approach are analyzed. While subsequent research is needed to refine the framework, I already note some preliminary implications for animal ethics. (shrink)

According to an orthodox view, the capacity for conscious experience (sentience) is relevant to the distribution of moral status and value. However, physicalism about consciousness might threaten the normative relevance of sentience. According to the indeterminacy argument, sentience is metaphysically indeterminate while indeterminacy of sentience is incompatible with its normative relevance. According to the introspective argument (by François Kammerer), the unreliability of our conscious introspection undercuts the justification for belief in the normative relevance of consciousness. I defend the normative relevance (...) of sentience against these objections. First, I demonstrate that physicalists only have to concede a limited amount of indeterminacy of sentience. This moderate indeterminacy is in harmony with the role of sentience in determining moral status. Second, I argue that physicalism gives us no reason to expect that introspection is unreliable with respect to the normative relevance of consciousness. (shrink)

In this paper, I compare all three editions of Bennett Reimer’s A Philosophy of Music Education with early Chinese philosophy, in particular, classical Chinese aesthetics. I structure my analysis around a quartet of interrelated themes: aesthetic education, education of feeling, aesthetic experience, and ethics and aesthetics. This paper suggests that Reimer’s philosophical writings have some degree of transcultural applicability beyond Western thought, counterpointing criticisms that his philosophy is narrow, ethnocentric, and culturally limited. It also serves as a plausible point of (...) departure towards a transcultural theory of aesthetics for music education relevant to the pluralistic and globalized world in which we live. (shrink)

La tradizione filosofica occidentale identifica di norma l'ingiustizia con l'assenza di quelle proprietà ideali che definiscono una società come perfettamente giusta. Ma cosa impedisce di pensare all'ingiustizia in altri termini rispetto alla pura e semplice assenza di giustizia? Muovendo da questo interrogativo, il libro sviluppa un'originale prospettiva teorica per affrontare alcune delle questioni più urgenti che assillano le società contemporanee. Il baricentro dell'analisi si sposta infatti sulle asimmetrie di potere che offendono la dignità di milioni di esseri umani su scala (...) globale. Sui mali comuni della crudeltà fisica, dell'umiliazione simbolica, del dominio culturale, economico e politico. È la negazione pratica di queste ingiustizie a definire l'idea di giustizia, rappresentando così la migliore premessa teorica per la costruzione conflittuale di una società più giusta. Prefazione di Pier Paolo Portinaro. (shrink)

Which artificial intelligence (AI) systems are agents? To answer this question, I propose a multidimensional account of agency. According to this account, a system's agency profile is jointly determined by its level of goal-directedness and autonomy as well as is abilities for directly impacting the surrounding world, long-term planning and acting for reasons. Rooted in extant theories of agency, this account enables fine-grained, nuanced comparative characterizations of artificial agency. I show that this account has multiple important virtues and is more (...) informative than alternatives. More speculatively, it may help to illuminate two important emerging questions in AI ethics: 1. Can agency contribute to the moral status of non-human beings, and how? 2. When and why might AI systems exhibit power-seeking behaviour and does this pose an existential risk to humanity? (shrink)

We statisticians, with our specific concern for uncertainty, are even more liable than other practical men to encounter philosophy, whether we like it or not. For my part, I like it comparatively well. That is why the honor of opening this session of discussion has come to me, though my background makes my knowledge and idiom somewhat different from your own.