Economic models are founded in the idea of taking individuals' preferences as both known and given. This article explores the evolution of personal preferences, within a context of both entrepreneurial discovery and Objectivist philosophy. It begins by formalizing Ayn Rand's theory of Objectivism applied to human values, and continues by modeling preference changes similar to Schumpeter's theory of creative destruction—a process of self-discovery. Next the role of societal factors is examined in forming shared preference sets. Finally, the (...) article describes how the strength of human preferences is used to narrow choice sets in the presence of greater consumption options. (shrink)

George Loewenstein is one of the pioneers of the rapidly growing field of behavioral economics. For over twenty years he has been working at the intersection of economics and psychology and is one of the few people of whom it can be said that their work is equally respected and well known within both disciplines. This book brings together a selection of his papers focusing on what he calls "exotic preferences"-- the disparate motives that drive human behavior. Anoriginal introduction (...) outlines Loewenstein's general approach to research, and there are short introductions to each paper outlining briefly when, how and why they came to be written, providing a fascinating and vivid insight into the process of intellectual creativity. (shrink)

Algorithms and automated learning systems have been successfully applied to produce images, pieces of music, or texts that are appealing to humans and that are often compared to artworks. Computational technologies are able to find surprising and original solutions–new patterns that humans cannot anticipate– but does this mean we ascribe to them the kind of creativity that is expressed by human artists? Even though AI can successfully detect humans’ preferences as well as select the objects that satisfy taste, can (...) we ascribe to them the capacity of recognizing the intrinsic value of artworks? To answer these questions, I am first going to explain the kind of creativity that is expressed by contemporary predictive systems, then, in the second part of this paper, I will try to show the difference between the creativity of algorithms and the creativity of artists by expanding on Deleuze’s reflections. (shrink)

Recent research has shown a memory advantage for minimally counterintuitive concepts, over concepts that are either intuitive or maximally counterintuitive, although the general result is heavily affected by context. Items from one such study were given to subjects who were asked to create novel stories using at least three concepts from a list containing all three types. Results indicated a preference for using MCI items, and further disclosed two styles of usage, an accommodative style and an assimilative style. The results (...) extend recent memory research and suggest extensions to recent theories intended to explain the prevalence of counterintuitive religious concepts. (shrink)

Creative accounting involves accountants in making accounting policy choices or manipulating transactions in such a way as to convey a preferred and deliberately chosen impression in the accounts. Although it is regarded as unethical by most observers, a defense of creative accounting can be based on the assumption that users of accounts can identify bias in accounting policy choices and make appropriate adjustments. In this paper we take the example of the Barcelona Football Club where the club management (...) made three key accounting policy choices that resulted in the presentation of a favourable position, and a supporters club presented an alternative report choosing three alternative accounting policies that presented an unfavourable position. We presented each of these financial reports to one of two groups of Spanish bank loan officers: we found that the more favourable set of accounts was significantly more likely to attract a positive response to a loan request. This result undermines the validity of defending creative accounting based on the argument that accounts users can identify manipulation. (shrink)

Creative accounting involves accountants in making accounting policy choices or manipulating transactions in such a way as to convey a preferred and deliberately chosen impression in the accounts. Although it is regarded as unethical by most observers, a defense of creative accounting can be based on the assumption that users of accounts can identify bias in accounting policy choices and make appropriate adjustments. In this paper we take the example of the Barcelona Football Club where the club management (...) made three key accounting policy choices that resulted in the presentation of a favourable position, and a supporters club presented an alternative report choosing three alternative accounting policies that presented an unfavourable position. We presented each of these financial reports to one of two groups of Spanish bank loan officers: we found that the more favourable set of accounts was significantly more likely to attract a positive response to a loan request. This result undermines the validity of defending creative accounting based on the argument that accounts users can identify manipulation. (shrink)

The standard view in current philosophy of creativity says that being creative has two requirements: being novel and being valuable. The standard view on creativity has recently become an object of critical scrutiny. Hills and Bird have specifically proposed to remove the value requirement from the definition, as it is not clear that creative objects are necessarily valuable or creative people necessarily praiseworthy. In this paper, I argue against Hills and Bird, since eliminating the element of value (...) from the explanation of creativity hinders the understanding of the role that creative products play in actual epistemic practices, which are fundamentally normative. More specifically, I argue that the terms ‘creativity’ and ‘creative’ function as thick epistemic concepts when employed by competent epistemic agents in practice, that is, these concepts have both a descriptive and an evaluative content that cannot be disentangled from one another. Accordingly, I suggest that philosophers should prefer thick accounts over thin accounts of creativity. A thick account of creativity is one that endorses the standard view at its basis, but further develops it in two ways: by stressing the entanglement of the value and novelty requirements; by permitting to encompass a range of domain-specific characterizations of such entanglement for different epistemic situations. In order to take the first steps in the development of such a thick account of creativity, I look at the domain of scientific practices as a case in point, and try to spell out what the thickness of creative instances typically entails here. Namely, I identify the worthy novelty of creative models and methods with their potential to clarify a tradition, with fruitfulness, and with the fulfilment of exploratory aims. (shrink)

Studies of style can be approached from two directions: the end and the means. From the end point of view, a style is a cluster of features present in artifacts; scholars usually classify the features in products to differentiate styles. Similar approaches used to examine features for further exploring the nature of style, the degree between styles, and the systematic measurement within style were extensively covered in Chap. 3. From the means point of view, a style is a mode by (...) which designers’ personal and professional preferences are expressed, and studies attempt to deliberate the mode of expression to mark styles. Although most style researchers have studied both directions, their efforts cannot provide clear explanations of how a style is generated. That is because not enough research has been devoted to the study of the means used that create a style. This chapter begins to explore, through a case study, the aspects of style creation and the forces that generate a style. Studies of style approached from the means point of view conducted in various fields and the factors determining the generation of style are reviewed first. (shrink)

It is possible today to observe in hindsight the epistemological landscape of the twentieth century, and the work of Albert Lautman in mathematical philosophy appears as a profound turning point, opening to a true under- standing of creativity in mathematics and its relation with the real. Little understood in its time or even today, Lautman’s work explores the difficult but exciting intersection where modern mathematics, advanced mathe- matical invention, the structural or unitary relations of mathematical knowledge and, finally, the metaphysical (...) and dialectical tensions underly- ing mathematical activity converge. Well beyond other better-known names in philosophy of mathematics – who are focused above all on ques- tions concerning the logical problem of foundations, important but frag- mentary studies in the vast panorama of modern mathematics – Lautman broaches the emergence of inventiveness in the very broad spectrum of the development of the mathematical real. Group theory, differential geome- try, algebraic topology, differential equations, functional analysis, functions of complex variables and number fields are some of the domains of his preferred examples. He detects in them methods of construction, structu- ration and unification of modern mathematics that he connects to a precise Platonic interpretation in which powerful pairs of ideas serve to organize the edifice of effective mathematics. (shrink)

The dominant social scientific approach to studying judicial behavior treats judges as strategic actors pursuing their political preferences under institutional constraint. The intellectual roots of this rational choice approach are in American law’s long but sporadic engagement with pragmatist ideas. This article challenges that approach: a fully pragmatist account of judicial action provides a better description of the intellectual and social work of judging, and better explains how judges reach a decision in difficult cases that most affect the development (...) of law and its relationship to society. The article argues that the foundational intellectual problem for appellate judges is how to define the legal questions presented in a case. Definitions of legal questions arise from the interplay of habitual and creative action in the local social context of an appeals court. Professional and local interpretive habits and legal forms ordinarily do a great deal to define the key questions, which are not strictly determined when a case comes before a court. Unscripted small group interactions at oral arguments also figure in question definition; oral arguments are most important in the rare but legally important cases where habitual practices alone are insufficient to delimit the legal question judges must answer. Supported by extensive interviews with federal appeals judges and clerks, the article illustrates judges’ creative, interactional efforts to define an answerable question in a major asylum case decided in the Seventh Circuit Court of Appeals. Building from this case, the article describes the factors that shape judicial question definition, and describes the conditions when creative judicial action is likely to be most prominent. (shrink)

A number of studies suggest that women find artistically creative men attractive, especially in the short-term mating context. Artistic creativity (but not mathematical or technical creativity) is linked to psychosis-proneness. I hypothesise that in preferring artistically creative men, women may be choosing paternal genotypes that make babies that are not excessively somatically demanding on them.

The aim of this paper is to focus on the specificities of the creative processes in taste industries: industries that have connected the artistic and industrial dimensions to supply goods and services—demand for which derives not from the logic of needs and necessity, but from the logic of pleasures, tastes, ethic preferences and hedonism. These taste industries belong to the creative industries but, unlike scientific and technological production, they work not on the basis of cumulative knowledge but (...) through the creation of ideas, drawings, recipes, goods and services which pass through time, and which constitute heritages. Thus, creativity works on the basis of heritages: that is, past and accumulated creativity. The paper considers how the different types of heritage contribute to creative process. It concludes on the double-edged effect of heritages, which while bestowing competitive advantages and favouring the development of creativity, do orient development along a given path, promoting a certain kind of creativity that may lead to lock-in effects, and build obstacles in the way of development. (shrink)

Male provisioning ability may have evolved as a “good dad” indicator through sexual selection, whereas male creativity may have evolved partly as a “good genes” indicator. If so, women near peak fertility (midcycle) should prefer creativity over wealth, especially in short-term mating. Forty-one normally cycling women read vignettes describing creative but poor men vs. uncreative but rich men. Women’s estimated fertility predicted their short-term (but not long-term) preference for creativity over wealth, in both their desirability ratings of individual men (...) (r=.40, p<.01) and their forced-choice decisions between men (r=.46, p<.01). These preliminary results are consistent with the view that creativity evolved at least partly as a good genes indicator through mate choice. (shrink)

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

The Quest for Meaning explores the deep-seated human need to create a life that is meaningful. In an effort to understand this need, author William Cooney examines the works of philosophers from Plato to Sartre as well as the insights of artists, poets, writers, psychologists, and film-makers. He discusses the nature of humanness, creation, freedom, and choice, all of which are facets of a meaningful life. Cooney also addresses postmodernism, arguing that it does not offer real guidance for those seeking (...) a life of significance. Maintaining that some ways of creating meaning are preferable to others, he concludes that it is up to each individual to craft a meaningful life and that this process must take place within a context of giving and receiving. (shrink)

Due to the close relationship among intrinsic/extrinsic motivation, regulatory focus, and creativity revealed by previous literature, intrinsic/extrinsic motivation may play a mediating role between regulatory focus and creativity. Therefore, the present study aimed to investigate the relationship between regulatory focus and creativity by combining intrinsic/extrinsic motivation. In this study, senior high school students completed the Regulatory Focus Questionnaire, the Working Preference Inventory, the Williams Creativity Assessment Packet, and the Kirton Adaption–Innovation Inventory. The correlation analysis showed that both promotion and prevention (...) focus positively correlated with intrinsic motivation; intrinsic motivation and promotion focus positively correlated with creativity personality and innovative-adaptive cognitive style; and extrinsic motivation and prevention focus negatively correlated with innovative–adaptive cognitive style. Furthermore, a path model showed that promotion focus positively predicted creativity through the mediation of intrinsic motivation. In general, our study suggests that intrinsic motivation plays a mediating role between promotion focus and creativity. Our results complement those of previous studies and serve as inspiration for the cultivation of creativity in classroom or enterprise settings. (shrink)

The perspectives of genomic citizen scientists on ownership of research outputs are not well understood, yet they are useful for identifying alignment of participant expectations and project practices and can help guide efforts to develop innovative tools and strategies for managing ownership claims. Here, we report findings from 52 interviews conducted in 2018 and 2019 to understand genomic citizen science stakeholders’ conceptualizations of, experiences with, and preferences for ownership of research outputs. Interviewees identified four approaches for recognizing genomic citizen (...) scientists’ ownership and related credit interests in research outputs: shared governance via commons models; fractional ownership of benefits; full and creative attribution; and offensive and defensive patenting. Interviewees also agreed that the model selected by any project should at least maximize access to research outputs and, as appropriate and to the extent possible, broadly distribute rights of control and entitlements to research benefits. (shrink)

Brojni čimbenici koji utječu na oblikovanje glazbenih preferencija srednjoškolaca upućuju na zahtjevnu ulogu glazbenih pedagoga. Njihov je zadatak da kompetentnim i kreativnim glazbenim poučavanjem navedu učenike da s emocionalno konotacijskog pristupa započnu primjenjivati sintaktičku strategiju slušanja, s razvijenim analitičkim muzikološkim procesima, te postupno razviju glazbeni ukus s kvalitetnim estetskim sustavom vrijednosti. Istražujući odnos sociodemografskih varijabli i glazbenih preferencija učenika prvih i četvrtih razreda gimnazije i strukovne srednje škole potvrđene su razlike u poznavanju i preferencijama utvrđenih glazbenih stilova s obzirom na (...) spol, vrstu škole, dob i školski uspjeh. Kroz dobivene rezultate istraživanja aktualizirana je potreba za uvrštavanjem glazbene poduke u strukovnim školama, obrazovnim institucijama u kojima takvi sadržaji nisu zastupljeni, ali i potreba za programskim proširenjima kako bi mladi u svojoj formativnoj fazi uz izgradnju pozitivnog odnosa prema umjetničkoj glazbi razvijali i otvorenost te toleranciju prema različitim kulturama i supkulturnim fenomenima. The numerous factors affecting secondary school students’ musical preferences show how difficult the role of music educators is. Their task is to use competent, creative music teaching to lead students away from an emotional, connotative approach towards a syntactic strategy of listening, to develop analytical musicological processes, and to gradually develop their musical tastes with a highquality aesthetic value system. Research into the relationship between socio-demographic variables and musical preferences among students in year 1 and year 4 of gymnasiums and vocational schools has affirmed differences in knowledge of and preferences in attested musical styles according to sex, type of school, age, and academic performance. The results of this research indicate the need to include music instruction in vocational schools, educational institutions that lack music programmes, as well as the need to increase the breadth of existing music programmes so that young people in their formative years, in addition to building a positive relationship towards artistic music, develop openness and tolerance towards various cultures and subcultural phenomena. (shrink)

EEGs were analyzed to investigate the effect of experiences in listening to preferred music in dancers and non-dancers. Participants passively listened to instrumental music of their preferred genre for 2 min, alternate genres, and silence. Both groups showed increased activity for their preferred music compared to non-preferred music in the gamma, beta, and alpha frequency bands. The results suggest all participants' conscious recognition of and affective responses to their familiar music, appreciation of the tempo embedded in their preferred music and (...) emotional arousal, and enhanced attention mechanism for cognitive operations such as memory retrieval. The observed alpha activity is considered in the framework of the alpha functional inhibition hypothesis, in that years of experience listening to their favorite type of music may have honed the cerebral responses to achieve efficient cortical processes. Analyses of the electroencephalogram activity over 100s-long music pieces revealed a difference between dancers and non-dancers in the magnitude of an initial alpha event-related desynchronization and the later development of an alpha event-related synchronization for their preferred music. Dancers exhibited augmented alpha ERD, as well as augmented and uninterrupted alpha ERS over the remaining 80s. This augmentation in dancers is hypothesized to be derived from creative cognition or motor imagery operations developed through their dance experiences. (shrink)

The aim of this paper is to explore some of the possibilities, advantages and difficulties of corpus-based analyses of semantic and pragmatic aspects of language in one particular field, namely the linguistic expression of emotion concepts. For this purpose, a methodological procedure is proposed and an exemplary analysis of the emotion concept “fear” in English is performed. The procedure combines Kövecses' lexical approach and Stefanowitsch's metaphorical pattern analysis with additional concepts from corpus linguistics such as semantic preference and semantic prosody. (...) The results of the study show that such a corpus-based analysis of emotion words offers several advantages. Firstly, by exploring the surroundings of the search word in a vast amount of text, we are not only able to find evidence of conceptual metaphor and metonymy that structure the emotion concept and of related emotion concepts, but also we can enrich the description of the emotion concept with information from a series of dimensions and add a pragmatic viewpoint by revealing an explicit or implicit evaluation of the emotion. The second advantage offered by a corpus-based approach lies in the possibility of quantifying results, i.e., comparing the frequency, productivity and creative use of individual metaphors and metonymies, which is especially interesting in view of contrastive studies. (shrink)

The aim of the present paper is to describe three different attempts, which have been made by philosophers, to define what quality of life is; and to spell out some of the difficulties that faces each definition. One, Perfectionism, focuses on the capacities that human beings possess: capacities for friendship, knowledge and creative activity, for instance. It says that the good life consists in the development and use of these capacities. Another account, the Preference Theory, urges that satisfying one's (...) preferences, or desires, is what improves one's quality of life. And a third account, Hedonism, sees life-quality as consisting in the enjoyment of pleasure and the avoidance of pain. The paper describes and evaluates objections to each of these views, thereby displaying their weaknesses and strengths. Since no view comes out as the right one there is a choice to be made. At the end of the paper it is being discussed how well each of the views cohere with different methodologies used in quality of life research. Also it is suggested that considerations about what the research is to be used for are relevant. (shrink)

Liberal societies typically prefer relatives and spouses of their members over other prospective immigrants seeking admission. Giving this preferential treatment to only certain categories of relationships requires justification. In this paper, I provide a defense of a category-based system for "unification admissions," non-members seeking admission for the purpose of living in the same society with members on a stable basis, that is compatible with liberalism and, in particular, does not violate the requirement of liberal neutrality. This defense does not commit (...) liberal theorists to the traditional state sovereignty view on immigration, according to which societies have wide latitude to exclude immigrants as they see fit, and shows that, contra Ferracioli, societies are not required to treat relatives, spouses, friends, and creative partners of their members on a par in matters of immigration policy. (shrink)

Zhuangzi is considered a creative poet-philosopher because of his use of imaginative images. He used the imaginative images of his system to construct the world of the Dao. He left the essence of material things as they are to speak for the mystery of existence itself, and let them express both the state of and the dream for human freedom. Zhuangzi’s way of using images shows his own lack of the understanding about images, and his lack of adequate assessments. (...) He used images in accord with his own personal preferences and fixed characteristics. He also had a tendency to equate the Dao which he experienced in his mind with the Dao itself. These shortcomings limit his improving and understanding of the Dao, so that his Dao failed to become more open to a wider existence. (shrink)

Explores the cosmological and metaphysical thought in the Zhuangzi from the perspective of nothingness. Zhuangzi and the Becoming of Nothingness offers a radical rereading of the Daoist classic Zhuangzi by bringing to light the role of nothingness in grounding the cosmological and metaphysical aspects of its thought. Through a careful analysis of the text and its appended commentaries, David Chai reveals not only how nothingness physically enriches the myriad things of the world, but also why the Zhuangzi prefers nothingness over (...) being as a means to expound the authentic way of Dao. Chai weaves together Dao, nothingness, and being in order to reassess the nature and significance of Daoist philosophy, both within its own historical milieu and for modern readers interested in applying the principles of Daoism to their own lived experiences. Chai concludes that nothingness is neither a nihilistic force nor an existential threat; instead, it is a vital component of Dao’s creative power and the life-praxis of the sage. “Chai provides an elaborate philosophical meontological interpretation of the ontology/cosmology found in the Zhuangzi and the implications for existential practice. It’s a close, careful, but in many respects quite original reading of the classic that contributes significantly to the field of philosophical Daoist studies.” — Geir Sigurðsson, author of Confucian Propriety and Ritual Learning: A Philosophical Interpretation. (shrink)

Liberal societies typically prefer relatives and spouses of their members over other prospective immigrants seeking admission. Giving this preferential treatment to only certain categories of relationships requires justification. In this paper, I provide a defense of a category-based system for “unification admissions,” non-members seeking admission for the purpose of living in the same society with members on a stable basis, that is compatible with liberalism and, in particular, does not violate the requirement of liberal neutrality. This defense does not commit (...) liberal theorists to the traditional state sovereignty view on immigration, according to which societies have wide latitude to exclude immigrants as they see fit, and shows that, contra Ferracioli, societies are not required to treat relatives, spouses, friends, and creative partners of their members on a par in matters of immigration policy. (shrink)

In the ancient world, the Greeks believed that all great insights came from one of nine muses, divine sisters who brought inspiration to mere mortals. In the modern world, few people still believe in the muses, but we all still love to hear stories of sudden inspiration. Like Newton and the apple, or Archimedes and the bathtub (both another type of myth), we’re eager to hear and to share stories about flashes of insight. But what does it take to be (...) actually creative? How to have such a flash insight? Turns out, there is real science behind "aha moments." We prefer to call it “intuilytics.”. (shrink)

In these writings by one of our most creative legal philosophers, Meir Dan-Cohen explores the nature of the self and its response to legal commands and mounts a challenge to some prevailing tenets of legal theory and the neighboring moral, political, and economic thought. The result is an insider's critique of liberalism that extends contemporary liberalism's Kantian strand, combining it with postmodernist ideas about the contingent and socially constructed self to build a thoroughly original perspective on some of the (...) most vital concerns of legal and moral theory.Dan-Cohen looks first at the ubiquity of legal coercion and considers its decisive impact on the nature of legal discourse and communication, on law's normative aspirations and claim to obedience, and on the ideal of the rule of law. He moves on to discuss basic values, stressing the preeminence of individual identity and human dignity over the more traditional liberal preoccupations with preference-based choice and experiential harm. Dan-Cohen then focuses more directly on the normative ramifications of the socially constructed self. Fundamental concepts such as responsibility and ownership are reinterpreted to take account of the constitutive role that social practices--particularly law and morality--play in the formation of the self.Throughout, Dan-Cohen draws on a uniquely productive mix of philosophical traditions and subjects, blending the methods of analytic philosophy with the concerns of Continental philosophers to reconceive the self and its relation to ethics and the law. (shrink)

The Nanosilver Linings role play case offers participants first-person experience with interpersonal interaction in the context of the wicked problems of emerging technology macroethics. In the fictional scenario, diverse societal stakeholders convene at a town hall meeting to consider whether a nanotechnology-enabled food packaging industry should be offered incentives to establish an operation in their economically struggling Midwestern city. This original creative work was built with a combination of elements, selected for their established pedagogical efficacy and as topical dimensions (...) of the realistic scenario. The product life cycle is used as a framework for integrated consideration of scientific, societal, and ethical issues. The Nanosilver Linings hypothetical case was delivered through the format of the 3-hour workshop Ethics when Biocomplexity meets Human Complexity, providing an immersive, holistic ethics learning experience for STEM graduate students. Through their participation in the Nanosilver Linings case and Ethics when Biocomplexity meets Human Complexity workshop, four cohorts of science and engineering doctoral students reported the achievement of specific learning objectives pertaining to a range of macroethics concepts and professional practices, including stakeholder perspectives, communication, human values, and ethical frameworks. Automated text analysis of workshop transcripts revealed differences in sentiment and in ethical framework preference between societal stakeholder roles. These resources have been recognized as ethics education exemplars by the U.S. National Academy of Engineering. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Interpreting ContextualitiesStephen DaviesIf, as so often demanded, the context of a literary work should be considered in interpreting it, which context is that? Is it the past context within which the work was created, or, rather, the different context in which the book and interpreter presently are located? In this essay, I consider theories of interpretation that disagree on the answers to these questions. To appropriate terms that have (...) become fashionable, one presents a model for interpretation that is “readerly” in being restrained and backward-looking, while the second allows for interpretations that are “writerly” in being creative and forward-looking. Both kinds of interpretation are used in literary criticism, with the first paying homage to the efforts of the work’s creator and the second showing respect for meanings the work presents to the critic’s contemporary audience. I argue that, despite appearances to the contrary, the first theory is no less capable than the second of accounting for actual critical practice. If not by seeing which account better matches the practice, how might we adjudicate between them? This is to be done by considering whether the creation and appreciation of literature answers primarily to an interest in works alone, or to works as the product of human authors. I prefer the second alternative and suggest that an interest in works as of their authors can be consistent with the widely held view that literary works admit of multiple interpretations.II call the first account of interpretation the Original Context Theory. It holds that the meaning of a literary work is fixed by factors holding at the time of the work’s creation. (A work might be revolutionary in style, [End Page 20] of course, but in that case it will be apparent that standard literary practices are invoked only to be challenged or repudiated.) The original context theory comes in at least three versions, depending on which of the factors present at the work’s creation is given primacy.Actual intentionalism maintains that the author’s successfully realized intentions determine the work’s meaning. 1 This variant of the original context theory holds that a literary work has the meaning that its author intends, provided that the author carries through the relevant intentions in appropriately employing the language of the day, as well as the then recognized conventions of the given genre and artistic practice. The artist’s intentions, if successfully executed, are publicly manifest in the work but will be recognized only by those familiar with the linguistic and artistic practices by which their expression is facilitated. The meaning of a work can be ambiguous or multi-layered, but usually this is because it is created to be so. The intentions need not be present to the author’s mind; they need not be self-consciously formulated as he works. Moreover, the author might have difficulty in articulating or formulating his intentions if asked, just as one often has difficulty in describing what one does in performing a familiar yet complex action. But they are nonetheless his intentions, nor are they the more difficult to discern in the product of those actions, for these facts.Hypothetical intentionalism holds that the work’s meaning is determined by inferences made by a suitably placed audience to the intentions of a hypothetical author, where these inferences are founded on a grasp of the linguistic conventions and artistic practices of the day, as well as publicly available knowledge concerning the creation of the given work. 2 Here the meaning of the work is generated by hypothesizing intentions authors might have had, given the context of creation, rather than relying on their actual intentions. Such inferences must have interpersonal validity if they are to reveal a meaning that can be attributed legitimately to the work. Because more than one set of inferences can be justifiable, a work might possess or display a multiplicity of meanings, even if the actual author intended only one of these.Conventionalism maintains that the conventions of language and art in place when the work was created are sufficient to secure the work’s meaning. 3 This last variant focuses on “utterance” rather than “utterer... (shrink)

The present study investigates how business ethics are related to vocational interest. Special attention has been paid to the relationship between business ethics and the interest in ‘enterprising’ and ‘social’ oriented professions. The results show that business ethics is only significantly correlated in a negative way, to enterprising vocational preferences. Moreover, the negative contribution of business ethics to the preference for entrepreneurial and managerial professions remains after controlling for personality and work values. Some work values also predict the entrepreneurial (...) interest: Earnings, Influence, Competition, Innovation and Creativity. The personality traits Extraversion (positive) and Agreeableness (negative) have predictive validity, but this effect disappears after controlling for work values. In the ‘Discussion’ section, we pay attention to possible consequences of the negative relationship between business ethics and Entrepreneurial interest for Corporate Social Responsibility (CSR). We argue that efforts concerning realistic job previews will only be meaningful if they are completed with efforts to make people more sensitive for ethics in two other domains, namely education and business. (shrink)

One of the riddles that enthrall those who study modern Jewish thought is how Maimonides attained such high stature among thinkers so far removed from one another – medievals and moderns, rationalists and mystics. One may fairly say that Maimonides was the religious and philosophical anchor for a stunning variety of thinkers, but it appears that more than they seek to understand Maimonides’ views, they find in him an ethical and religious model that enables them to create and formulate their (...) own innovative ethical teachings. I will seek to demonstrate that just as Maimonides provides the anchor for these thinkers’ independent creative work, their great admiration for him comes to define, in the final analysis, the limits of the philosophy that they offer. This is no simple matter. It has far-reaching implications, marking off the horizon of those philosophers’ thought. The example through which I shall present those limits is that of Eros – religious Eros and attitudes toward the body and sexuality in modern Jewish thought. In order to highlight the sense of indebtedness and loyalty to Maimonides and the limits set by that sense in modern Jewish thought, this study examines Spinoza’s attitude to love and Eros and the critique of that position by Hermann Cohen, followed by consideration of the problematic indications of limitation in both thinkers. These inquiries require first some attention to the status of Eros in religious thought and to the tension between the Spinozean position on Eros, with its exoteric significance, and the position taken by Hermann Cohen. Both of these thinkers express a preference for intellectual love over erotic love – a surprising similarity that indicates the horizons that were closed off to them because of the limits they imposed on themselves by accepting the authority of Maimonides. -/- . (shrink)

The claim to rationality is disputed by two rival enlightenments, which collided in the dispute between Plato, Socrates and the Sophists, and which Marx united critically. He criticizes the capitalist system immanently as restrictive of production, and its market as not a case of freedom or equality. However, Marx is most concerned with ontological injustice, coerced alienation of the human into being a commodity. He retains Promethean Enlightenment values however: technology, creativity, democracy, which should be economic, participatory and international. Marx (...) criticized Hegel’s rationalization, idealization, ‘transfiguration and glorification’ of private property and the market. But he retains key elements of the idealist notion of human nature: that human is a ‘universal, therefore free being.’ The proletariat, with no other class to exploit, is therefore the philosophical ‘universal class.’ Freedom is class emancipation, justice is common ownership. There is an unwarranted skepticism about the rationality of such values and ideals. Rawls for instance misrepresents them by putting them in the same category as wants or preferences. Ideals, values, and enlightenments can and should be rationally argued over, in dialogue. (shrink)

This attempt to reveal several aspects of language power begins with the integralism promoted by Eugen Coseriu, who presents in his work the creative force of language. The author constructs a parallel between the structure of the communist society and the parithetic order of language. Thus, the force of an idiom is going to be exposed, and the preferred example is going to be the recent and painful history of the political life of Southeastern Europe, especially that of the (...) former Yugoslav republic. The author intends to demonstrate that linguistic idioms may eventually become extremely powerful, especially in certain historical circumstances. This conclusion in itself is judged to be interesting enough to move readers to be more attentive toward the power of language, from the perspective of finding the particular tradition that claims the existence, at the beginning of human language, of one unique (original) language. (shrink)

Ambiguity is not the polysemy most words display as dictionary entries but results from the context's blocking of the reader's choice among competing meanings, as when, to use an example from Derrida, a French context hinders the reader from deciding whether plus de means "lack" or "excess" .1 In this case, the undecidability is due entirely to the fact that the reader is playing a score, the syntax, that will not let him choose. This must be because the score is (...) badly written; yet it is precisely this sort of willful neglect that critics have labeled poetic license, thereby underlining its literary nature. Undecidability has become a central feature in Derrida's analyses of literariness, and it is also the main underpinning of his creative writing.2 Better still, his own critical discourse has put undecidability to use, not a rare case of metalanguage imitating the very devices of the language it purports to analyze. My example are therefore drawn from Derrida on the assumption that his conscious practice of écriture, backed up by a sophisticated theory, will be particularly illuminating. For my own analysis of these phenomena, I shall be using a special word that Derrida has adopted and adapted from the terminology of ancient rhetoric. He proposes it in his commentary on this sentence of Mallarmé's: "La scène n'illustre que l'idée, pas une action effective, dans une hymen . . . entre le désir et l'accomplissement, la perpétration et son souvenir."3 Our critic points out that the grammar prevents the reader from choosing between hymen as "marriage," a symbolic union or fusion, and as "vaginal membrane," the barrier is broken through if desire is to reach what it desires. Undecidability is the effective mechanism of pantomime as an art form since from mimicry alone, without words, the spectator cannot tell whether a dreamed, or a remembered, or a present act is being set forth. This, in turn, Derrida shows to be fundamental to Mallarmé's concept of poetry. It is simply a pun or, as Derrida prefers to call it, a "syllepsis,"4 the trope that consists in understanding the same word in two different ways at the same time, one meaning being literal or primary, the other figurative.5 The second meaning is not just different from and incompatible with the first: it is tied to the first as its polar opposite or the way the reverse of a coin is bound to its obverse—the hymen as unbroken membrane is also metaphorical in both its meanings is irrelevant to its undecidability. What makes it undecidable is not that it is an image but that it embodies a structure, that is, the syllepsis. · 1. See Jacques Derrida's La Dissémination , p. 307.· 2. Because Derrida is a philosopher by trade, one would expect his undecidability to reflect the very precise logical and mathematical concepts of that discipline - which is to say, the limitations inherent in the axiomatic method. Kristeva, for example, tries to do this in her Le Texts du roman: Approche sèmiologique d'une structure discursive transformationnelle , pp. 76-78. So far as I can make out, however , Derrida's critical theory and reading practice do not pack more into the word "undecidable" than does the definition I offer in this paper.· 3. Stephane Mallarmé, Mimique, Oeuvres complètes , p. 310: "the scene [a drama, or rather a pantomime] bodies forth only an idea, not an action: it is like a hymen between desire and its realization, or between an act committed and the memory of it"; here and elsewhere, my translation unless otherwise cited. Derrida's commentary, "La Double Séance," has been rpt. in La Dissémination, pp. 199-317; see esp. pp. 240 ff.· 4. See La Dissémination, p. 249.· 5. This definition has prevailed ever since Dumarsais' treatise, Des Tropes . That syllepsis must be distinguished from the so-called grammatical syllepsis or the zeugma is apparent in Heinrich Lausberg's Handbuch der literarischen Rhetorik , pars. 702-7; on the acceptation chosen by Derrida, see pars. 7-8. Michael Riffaterre, Blanche W. Knopf Professor of French Literature and chairman of the department of French and Romance literatures at Columbia University, is the editor of Romantic Review. He is the author of Semiotics of Poetry, La Production du Texte, Typology of Intertextuality and A Grammar of Descriptive Poetry. "Syllepsis" developed out of seminars he led at the Irvine School of Criticism and Theory and at Johns Hopkins University. (shrink)

Since economies are dynamic processes driven by creativity, social norms, and emotions as well as rational calculation, why do economists largely study them using static equilibrium models and narrow rationalistic assumptions? Economic activity is as much a function of imagination and social sentiments as of the rational optimisation of given preferences and goods. Richard Bronk argues that economists can best model and explain these creative and social aspects of markets by using new structuring assumptions and metaphors derived from (...) the poetry and philosophy of the Romantics. By bridging the divide between literature and science, and between Romanticism and narrow forms of Rationalism, economists can access grounding assumptions, models, and research methods suitable for comprehending the creativity and social dimensions of economic activity. This is a guide to how economists and other social scientists can broaden their analytical repertoire to encompass the vital role of sentiments, language, and imagination. (shrink)

Baumard suggests that the advent, through phenotypic plasticity mechanisms, of future-oriented preferences and creative mindsets in eighteenth-century Great Britain explains the wave of innovations that drove the British Industrial Revolution. We argue that, although this approach is promising, Baumard's model would benefit from being supplemented by demographic, economic, and sociological explanations independent of Life History Theory.

The post-confinement phase of the COVID-19 pandemic will require that governments navigate more complex ethical questions than had occurred in the initial, ‘curve-flattening’ phase, and that will occur when the pandemic is in the past. By looking at the unavoidable harms involved in the confinement and quarantine methods employed during the initial phase of the pandemic, we can develop a harm reduction approach to managing the phase during which society will be gradually reopened in a context of managed risk. The (...) principles that are at the heart of such an approach include a reckoning with all of the harms involved in policy choice, including harms that might be given rise to by policy implementation itself; a focus on the harms to which already vulnerable populations are susceptible; and a strong preference for policies that economize on the use of prohibitions and of coercive state enforcement, and that instead emphasize the agency of citizens in realizing health-promoting behavior change. This framework is applied to a policy proposal that has been discussed in policy circles in a number of countries, that of immunity ‘passports’, and to policies that emphasize the creative use of space and time to achieve physical distancing goals. (shrink)

Although Foucault’s 1979 lectures on The Birth of Biopolitics promised to treat the theme of biopolitics, the course deals at length with neoliberalism while mentioning biopolitics hardly at all. Some scholars account for this elision by claiming that Foucault sympathized with neoliberalism; I argue on the contrary that Foucault develops a penetrating critique of the neoliberal claim to preserve individual liberty. Following Foucault, I show that the Chicago economist Gary Becker exemplifies what Foucault describes elsewhere as biopolitics: a form of (...) power applied to the behavior of a population through the normalizing use of statistics. Although Becker’s preference for indirect intervention might seem to preserve the independence of individuals, under biopolitics individual liberty is itself the means by which populations are governed indirectly. In my view, by describing the history and ambivalence of neoliberal biopolitics, Foucault fosters a critical vigilance that is the precondition for creative political resistance. (shrink)

This essay argues that Oscar Wilde noticeably contributed to the emerging discourse about world literature, even though his views in this regard have to be unearthed from the margins of his works, from his early and unpublished American lectures and ‘between the lines’ of his major critical essays. Wilde’s implicit ideas around world literature can be understood as being closely related to his broader endeavour of redirecting and revaluing the pejorative discourse around ‘decadence’ in art and literature. More specifically, the (...) arch-aesthete preferred to use the word ‘romance’ rather than ‘decadence’, signalling a sensitivity attuned to what he called the ‘love of things impossible’. This reconceptualization of the decadent outlook was to inspire a critical ideal of literature which relied on creatively activating the other as Other, culminating in a vision of intersubjective, transcultural and unlimited literary communication. Wilde’s thought can be more specifically understood as anticipating central tenets of Gayatri Chakravorty Spivak’s evocations of the planetary, thus preparing the way for an alterity-oriented understanding of literary cosmopolitanism. (shrink)

The core of the study is a critical comparison of Nietzsche’s notion of Übermensch, and its transhumanist rewriting into different variants of the posthuman. The first part contextualizes transhumanist thought, primarily in relation to certain evolutionary ideas that, in their totality, exhibit a fundamental anthropological deficit: they speak of the evolutionary overcoming of human, but the limit of sensibility that attempts to imagine a future human being is only the mere negation of what human has been so far. In this (...) way, the posthuman is not removed from the somewhat vague context of the technological “extension” of previous humanity. In this respect, the whole concept is grossly unaesthetic. The second part shows that Nietzsche’s rethinking of the overhuman was intertwined with other anthropological structures, for example, the idea of Mitfreude (‘shared joy’), which is supposed to creatively (in the manner of art) replace the morally misleading notion of compassion. The Übermensch therefore enabled Nietzsche to propose a different conception of intersubjectivity; one that would no longer be reduced to contempt for the human being. The third section traces the causes of the transhumanist failure in productive imagination. It is based on the hypothesis that this failure is driven by an unconscious preference for the figure of the comic book Superman. It postulates, through a Kantian conception of the sublime, that an adequate elaboration of the image of the posthuman cannot do without an affective component that would allow for Bejahung (‘affirmation’). Only the artificial will always appear, to some degree, as alien, and therefore will never transcend the limits of reactive adaptation. A living posthuman could only emerge if he offered anthropological techniques of the art of living. Therefore, transhumanism continuously raises anthropological questions, especially regarding the problem of the extent to which the artificiality of art can be identified with technology. Without proper answers, it will not achieve the complexity of Nietzsche’s overhuman, and will always only dilute him into technological supplements. The posthuman will come into being when he is conceived as a grandiose work of art. (shrink)

Background: Humor, both producing and appreciating, underpins positive social interactions acting as a facilitator of communication. There are clear links to wellbeing that go along with this form of social engagement. However, humor appears to be a seldom studied, cross-disciplinary area of investigation when applied to people with an intellectual disability, this review collates the current state of knowledge regarding the role of humor behavior in the social interactions of people with intellectual disabilities and their carers. Method: A systematic review (...) utilizing the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines was completed which aimed to explore the current state of knowledge and quality of empirical evidence relating to humor in people with intellectual disabilities. Following this, articles were grouped thematically and summarized. A comprehensive search of four electronic databases (1954–2017) and additional search strategies yielded 32 articles which met the final inclusion criteria. Results: Humor played a significant positive and negative role in the social interactions of people with intellectual disabilities. Research had investigated humor in the classroom and humor expression in different groups including those with autism, Down syndrome, Angelman syndrome, Williams syndrome and Rett syndrome. Few investigations directly studied humor appreciation and comprehension hence themes did not focus solely on humor production/appreciation. Humor comprehension was reportedly supported by gestures. Some groups with intellectual disabilities found non-literal humor (e.g. sarcasm, irony) more difficult to understand which may affect social relationships. Various types of humor were found to be appreciated. The role of humor in relationship development, social facilitation, creativity and stigma had all received some limited attention. Humor also played a role for carer groups in coping with and enjoying the caring role. Research varied in quality with few experimental studies and mainly quasi-experimental and well-conducted qualitative studies. Conclusions: This review revealed the importance of humor behavior in many aspects of the social lives of people with intellectual disabilities. Limited disparate research exists pertaining to humor in this group, suggesting the need for further robust research in this area, including more high quality primary research in the areas of humor production, appreciation, comprehension and stigma. (shrink)

Shestov and Levinas share a preference for Jerusalem over Athens—specifically, for a movement of spirit other than knowledge that is not oriented toward the past, as knowledge is, but toward the new. They characterize that movement differently: Shestov opts for faith and the exercise of creative powers based on his interpretation of Adam and Eve eating of the tree of knowledge, while Levinas prefers a suspension in which we marvel at the created other, an idea, influenced by Husserl on (...) suspension, which presages Levinas’s later notion of welcoming or being cored out by the absolute other. (shrink)

The second-generation critical theory of Apel and Habermas was substantially built on the semiotic pragmatism of Charles Peirce. Along with critical theory generally, this variation requires a theory of society in which to embed its wide-ranging normative commitments. The article proposes re-orienting Habermas’s decades-old theory of communicative action, which contained essential pointers to a critical theory of society that has never been adequately taken up in either the critical social sciences or critical theory proper. Revising Habermas, Peirce is drawn upon (...) to crystallize the preferred critical semiotic realist theory of society. Asemiotic social ontology of the necessary range and scope is accordingly put forward that centres on inferential communal reasoning within the wider contexts of social perception and social actuality. The resulting approach, overcoming established dichotomies, is realist and processual as well as substantive, critical as well as hermeneutic and phenomenological, transcendent as well as immanent, realist as well as idealist, a priori as well as a posteriori, cognitive as well as normative, macro as well as micro, individual as well as collective and creative as well as habitual. (shrink)

The word “romanticism” designates in German as in other European languages a broad movement in literature that originated at the beginning of the nineteenth century and has often been characterized as an opposition to the preceding age of rationalism and Enlightenment. Situated between the classicist schools of taste of the previous century and the realistic and naturalistic trends in literature of the later nineteenth century, Romanticism or romantic literature is the product of the creative power of the imagination; it (...) appeals to the emotions, has a preference for the mysterious aspects of nature, and shows a strong predilection for the past, the Middle Ages, and mythological traditions. With its strong affinity to the novel, romantic literature departs from the classical forms and the classicist canon of literature, but when these classical forms were nevertheless used by the authors of this movement, something new was created – the romantic tale, the romantic drama, and romantic poetry. The great romantic authors in Germany were E. T. A. Hoffmann, Eichendorff, Brentano, Arnim, and Fouqué. There is both a narrower and a broader notion of Romanticism in Germany, the broader also relating to painting (Friedrich, Runge) and music (Schumann, Schubert, Mendelssohn, Bartholdy, Wagner). Romanticism had a great impact on the general view of the world and was influential in the rise of the historical consciousness, the revival of a religious spirit, and the emergence of a conservative political attitude. As far as philosophy and the sciences are concerned, Romanticism is associated with figures such as Schelling and Schopenhauer, the development of a philosophy of art, of nature, and of the subconscious. On the whole, Romanticism is one of those movements that shaped an entire age and manifested itself down to the most particular features of popular belief and scientific interest. (shrink)

In what follows I distinguish «postmodern animism» from my preferred term «postmedia animism», which I propose is a better term to express a minor, virtual, contrarian art and media. In the time of planetary trauma, ecological devastation and collapse, this term will serve as a heuristic concept to trace the passage from pandemic, panic, catastrophe and crisis to the series pandemonium, delirium and the carnivalesque. My gambit is to invoke a rebellious and affirmative Yōkai imaginary (妖怪, ghost, phantom, strange apparition) (...) in order to contest passive forms of «transcendental narcissism» or «transcendental miserabilism».This we shall designate s an aesthetics of existence. In particular, I will analyse the relationship between natural disasters and politics within the Japanese imagination through reference to Namazu-e (鯰絵, woodblock prints depicting catfish), and their political effects in the aftermath of the earthquake of October 1855 (安政江戸地震, Ansei Edo Jishin) in the Edo period of Japanese history (FIG 1). My intention is to show that this historic art form, which grew out of trauma, demonstrates a fabulatory, dissensual and political aesthetics of resistance and creativity. It is an imaginary which appears conspicuously absent in our contemporary moment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Re-examining Empirical Data on Conflicts of Interest Through the Lens of Personal NarrativesEmily E. Anderson and Elena M. KrausIntroductionThe personal stories submitted by physicians and researchers for this symposium add much–needed dimension to conversations on conflicts of interest in medicine and research. Narratives from individuals living with conflicts of interest can serve as a unique lens through which to consider psychological and economic theories and survey data on physician (...) and patient views. In our reading of these personal narratives, we identified four primary themes that will serve as springboards for our commentary. We aim to triangulate clusters of meaning drawn from the narratives with relevant data from published empirical studies and identify gaps in knowledge where more research is needed. These themes are: the unique environments of medicine and research; weighing the potential benefits of conflicts of interest against the risks; conflict of interest management; and the roles and responsibilities of diverse stakeholder groups.The Unique Challenges of the Medical and Research EnvironmentsThe reflections of the narrative authors draw attention to many of the unique environmental aspects of medicine and medical research that make physicians and researchers especially vulnerable to conflicts of interest. Conflicts of interest may be more ubiquitous in medicine than in any other industry (Kassirer, 2006). As the narratives demonstrate, conflicts of interest emerge across a range of health care delivery and research activities. Surveys have shown that 94 percent of physicians have some kind of relationship with industry (Campbell, Gruen, Mountford, et al., 2007). There is also evidence that physician interactions with medical industry begin early and are a regular part of a physician’s professional practice along the career continuum (Wazana, 2000).Medicine as a profession is distinct from banking or law. It is often said that medicine is an art; in treating patients, creative individualized solutions and gut instinct are as (if not more) important than the application of scientific knowledge. Uncertainty surrounds medical decision making. There is limited precision with respect to diagnoses and prognoses, limited data regarding the effectiveness of many treatments, and a range of patient values and preferences. Because of this uncertainty, rules about practice standards, especially with respect to avoidance and management of conflicts of interest, cannot be as explicit as they are in law or business. As demonstrated by the story presented by Sal Cruz–Flores, research and practice often intersect. And, there is no system in greater need of reform—and no system about which there are more divergent opinions as to what shape that reform should take—than the United States health care [End Page 91] system. The narratives of Tony Mikulec, Govind Nagaldinne, and David M. Zientek demonstrate how various aspects of the structure of healthcare service provision and third–party payer arrangements have the potential to harm patients. Conflicts of interest comprise more than relationships with pharmaceutical and medical device manufacturers.The narratives of Laura Jean Bierut and David M. Zientek also discuss examples of conflicts of interest that arise from factors beyond relationships with industry or the direct potential for financial gain. This may be somewhat unique to the medical milieu. Non-financial conflicts such as a desire for the prestige bestowed upon scientists who make key discoveries, a requirement to publish for tenure and promotion, the need to maintain one’s license or other privileges, or simply the pressure of a competitive environment can influence physician and researcher behavior. As noted by Bierut, more research on how to identify and manage non-financial conflicts is needed.The Potential Benefits and Harms of Conflicts of InterestConflicts of interest are usually presented in a negative light, particularly those that involve physician relationships with the pharmaceutical industry. To “have a conflict of interest” is to be in a situation or role where there is potential for personal interests to be prioritized over professional responsibilities. However, in terms of public perception, it seems that conflicts of interest have become almost synonymous with wrongdoing. Perhaps this is due to the barrage of media reports during the last decade on significant harms caused by financial conflicts of interest in business, journalism, and sports as well as in medicine (Steinbrook, 2004). Amidst... (shrink)

It seems natural to suppose that Artur Schnabel’s occasionally inaccurate performance of Beethoven’s Hammerklavier would have been even better had it been accurate throughout. In the present paper I defend this supposition against a sceptical argument which purports to show that we have no good reason to believe it. The sceptical argument, which draws on some plausible-seeming thoughts about aesthetic properties, concludes that, because we cannot know whether this or that (as-yet-unachieved) musical result is so much as possible, we have (...) no good reason to suppose that the accurate version of Schnabel’s performance should be preferred to Schnabel’s own. In attempting to defuse this sceptical argument, I open up, and begin to explore, some new and potentially interesting questions about musical creativity and about the species of rationality that it requires and exhibits. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, (...) the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

Relational reasoning is a hallmark of human higher cognition and creativity, yet it is notoriously difficult to encourage in abstract tasks, even in adults. Generally, young children initially focus more on objects, but with age become more focused on relations. While prerequisite knowledge and cognitive resource maturation partially explains this pattern, here we propose a new facet important for children's relational reasoning development: a general orientation to relational information, or a relational mindset. We demonstrate that a relational mindset can be (...) elicited, even in 4‐year‐old children, yielding greater than expected spontaneous attention to relations. Children either generated or listened to an experimenter state the relationships between objects in a set of formal analogy problems, and then in a second task, selected object or relational matches according to their preference. Children tended to make object mappings, but those who generated relations on the first task selected relational matches more often on the second task, signaling that relational attention is malleable even in young children. (shrink)

L'improbable est souvent considéré comme un vain exercice d'hypothèses oiseuses ou comme un supplément d'incertitude dans la culture occidentale, qui préfère le prévisible à l'incertain. Et pourtant... Que ce soit dans la recherche scientifique fondamentale ou dans l'invention artistique, dans la discussion philosophique ou dans l'évolution du vivant, l'improbable est cette source de liberté d'où peuvent jaillir idées, solutions ou événements nouveaux et imprévus. Autour d'Alain Berthoz et de Carlo Ossola, une dizaine de chercheurs d'envergure internationale abordent dans une approche (...) multidisciplinaire les mystères et les ressorts de l'improbable, puissant facteur de créativité aux frontières du possible et de l'impossible. L'improbable au coeur de la création dans les sciences, les arts et dans la vie sociale! (shrink)