The decision-theoretic account of probability in the Everett or many-worlds interpretation, advanced by David Deutsch and David Wallace, is shown to be circular. Talk of probability in Everett presumes the existence of a preferred basis to identify measurement outcomes for the probabilities to range over. But the existence of a preferred basis can only be established by the process of decoherence, which is itself probabilistic.

ABSTRACTWith over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson presented evidence supporting performers’ abilities to communicate, with hig...

The article briefly reviews the external pressures for teaching business ethics. It then summarizes why teaching business ethics across the curriculum is essentially a necessity in the current environment. This leads to a discussion of six commonly adopted elements used when seeking to improve a business ethics curriculum. The case study uses these six elements to provide insights into contemporary challenges facing many business schools. The particular contribution of this article is in the area of methods to assess the status (...) of the curriculum. The case study provides details about a faculty survey used as a compelling tool to kick-start a business ethics curriculum upgrade, not only based on the information that it yields, but the potent opportunity for conversation and collaboration. The conclusion summarizes the contemporary challenges and opportunities that business schools face. The instrument itself is in the appendix. (shrink)

Big History has been developing very fast indeed. We are currently observing a ‘Cambrian explosion’ in terms of its popularity and diffusion. Big History courses are taught in the schools and universities of several dozen countries, including China, Korea, the Netherlands, the USA, India, Russia, Japan, Australia, Great Britain, Germany, and many more. The International Big History Association (IBHA) is gaining momentum in its projects and membership. Conferences are beginning to be held regularly (this edited volume has been prepared on (...) the basis of the proceedings of the International Big History Association Inaugural Conference [see below for details]). Hundreds of researchers are involved in studying and teaching Big History. (shrink)

According to the working definition of the International Big History Association, ‘Big History seeks to understand the integrated history of the Cosmos, Earth, Life and Humanity, using the best available empirical evidence and scholarly methods’. In recent years Big History has been developing very fast indeed. Big History courses are taught in the schools and universities of several dozen countries. Hundreds of researchers are involved in studying and teaching Big History. The unique approach of Big History, the interdisciplinary genre of (...) history that deals with the grand narrative of 13.8 billion years, has opened up a vast amount of research agendas. Big History brings together constantly updated information from the scientific disciplines and merges it with the contemplative realms of philosophy and the humanities. It also provides a connection between the past, present, and future. Big History is a colossal and extremely heterogeneous field of research encompassing all the forms of existence and all timescales. Unsurprisingly, Big History may be presented in very different aspects and facets. In this volume the Big History is presented and discussed in three different ways. In its first part, Big History is explored in terms of methodology, theories of knowledge, as well as showcasing the personal approach of scholars to Big History. The second section comprises such articles that could clarify Big History's main trends and laws. The third part of this book explores the nature of teaching Big History as well as profiling a number of educational methods. This volume will be useful both for those who study interdisciplinary macroproblems and for specialists working in focused directions, as well as for those who are interested in evolutionary issues of Astrophysics, Geology, Biology, History, Anthropology, Linguistics and other areas of study. (shrink)

A persistent sociological thesis posits that the spread of formal education causes an inevitable decline in religion as a social institution and diminishes adherence to religious beliefs in postindustrial society. Now that worldwide advanced education is a central agent in developing and disseminating Western rationality emphasizing science as the ultimate truth claim about a humanly constructed society and the natural world this seems an ever more relevant thesis. Yet in the face of a robust “education revolution,” religion and spirituality endure, (...) and in certain respects thrive, thus creating a sociological paradox: How can both expanding education and mass religion coexist? The solution proposed here is that instead of educational development setting the conditions for the decline and eventual death of religion, the two institutions have been, and continue to be, more compatible and even surprisingly symbiotic than is often assumed. This contributes to a culture of mass education and mass religion that is unique in the history of human society, exemplified by the heavily educated and churched United States. After a brief review of the empirical trends behind the paradox, a new confluence of streams of research on compatible worldviews, overlapping ideologies, and their enactments in educational and religious social movements illustrates the plausibility of an affinity argument and its impact on theory about post-secular society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical ExperienceDavid BakerHarold E. Fiske, Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience. (Lewiston, New York: Edwin Mellen Press, 2008).Building on several earlier publications on music and the mind (1990, 1993, 1996, 2004), Harold Fiske offers Understanding Musical Understanding. This is a well-referenced piece that outlines the thinking of various authors (for example, Crowder, (...) 19931; Huron, 2006;2 Snyder, 20073). Furthermore, as Fiske meticulously constructs his case, it draws in psychologists such as Carl Seashore and philosophers like Aristotle, Hegel, Kant, and Schopenhauer. All this suggests an author of great expertise and wide appeal.Fiske begins to build his argument by discussing musical cognition in terms of ‘time’ (Chapter 2) and ‘shape’ (Chapter 3) returning to these themes in greater detail in Chapter 6. It may seem axiomatic that music is perceived structurally and through time. Yet, as the author mentions, the capacity for someone to designate musical form is no way in which to illustrate systematically the workings of musical understanding. This happens swiftly and unceasingly in the course of a person’s musical encounter. It is commonplace, too, for musicians and listeners to allude to visual imagery and shape when describing music (for example, ‘high [End Page 204] and low pitches,’ ‘a texture that is dense or thin,’ or ‘an angular melody’). Fiske contributes a plausible explanation of musical shape:... the perceived shape of music can only be the outcome of a construction (not reconstruction or ‘copy’) calculated on the part of the neural network mechanisms… The ‘reality’ of a musical-auditory image is likely a result of imposing a three-dimensioned visual perspective on an inherently unstructured (invisible, tasteless, intangible, and otherwise unknowable) transitory experience. This is the only means the brain has for making sense of a sound event. What it seems to do is: identify relevant cues, piece the cues together into patterns that can be retained (in the echoic memory) long enough for brain mechanisms to examine and create the sense that we can ‘look’ at music by invoking principles borrowed from vision, and then creating the impression of an auditory ‘object.’ The ‘object’ seems complete and multidimensioned but is, however, only remotely related to what we hear during the slit-like limitations of the perceptual ‘now.’(p. 56).Nonetheless, the manner in which we communicate musical perception with terms borrowed from vision does not inconclusively evidence the same mechanisms of human thought on receiving visual or, on the other hand, musical stimuli. Use of such language may only represent an opportune mode of expressing phenomena to which we have no dedicated vocabulary. Fiske argues that musical understanding is part of the human organism’s genetically-inherited capacity to construe (rapidly invent) patterns from sonic stimuli thus making sense of temporal experience. This process, he argues, is part of the brain’s facility to determine quickly the source, kind and meaning of stimuli for the organism’s immediate safety and survival; the mental processes involved are regulated by ‘brain time’ as opposed to ‘clock time.’ Brain time is “... a rapid, micro-temporal, flexible-variable scheme...” (p. 8) in contrast to pre- and externally-determined ‘clock time.’Musical memory is addressed in Chapter 4 in tandem with ‘pattern constructs.’ Pattern constructs, Fiske explains, are ‘chunks’ of learned musical experience encoded in ‘brain time’ as multi-dimensional, unidirectional entities (p. 63). There is evidence of the ‘inner replay’ of learned events such as these.4 Incoming musical information is perceived, though, according to the listener’s cognitive context, and perhaps retroactively linked for ‘best fit’ rather than being ‘measured’ against fixed expectations and pre-established contextual information, say, about genre. The degree of ‘best fit’ either confirms or modifies assumed context. An important point Fiske makes, then, is that “... a misfit... between incoming information and the presumed context” evidences learning (p. 84).5 Since a ‘misfit’ triggers modifications to the cognitive context by which a person discerns music, it enriches his or her musical knowledge and understanding. [End Page 205] Consequently, Fiske sets a challenge for music education: “... how [do we] design teaching... (shrink)