Abstractabstract:The concept of “boring dystopia,” a term coined by Mark Fisher, describes the banal and mildly coercive signs that are prevalent in contemporary neoliberal society. It is characterized by a pervasive sense of boredom, banality, and total alienation, which arises from the depletion of social connections caused by free-market fundamentalism and consumer culture. For the author, Edward Hopper’s paintings embody this sense of dystopia, as they depict deserted cityscapes and isolated figures, creating a vision of a society where human (...) connection and interaction have broken down. The COVID-19 pandemic response has further highlighted the erosion of empathy and compassion under neoliberal capitalism, making Fisher’s call for collective action and the creation of new forms of community and solidarity even more urgent. Edward Hopper’s haunting art reminds us that we are already living in a dystopia, and that it is crucial to confront this dystopian reality and imagine new possibilities for the future. (shrink)

Auster contributed an extract from Moon Palace to the collection “Edward Hopper and the American Imagination,” and it is clear that Hopper’s images of alienated individuals have had a profound resonance for him. This paper employs two main ideas to compare them. First, a pivotal moment in American literature: the hotel room drama watched by Coverdale in Hawthorne’s Blithedale Romance. Secondly, Aby Warburg’s concept of the “pathos formula” in art, which bypasses the problematic issue of influence, choosing instead to (...) posit sets of inherited cultural memories. It therefore allows discussion of the re-emergence of Hawthorne’s puritan tropes of paranoid specularity and transcendence in the work of Hopper and Auster. (shrink)

A sustained account of Taggart's (English, Shippensburg U.) personal and poetic experience of A Woman in the Sun by American painter Edward Hopper (1882-1967).

The formulation of propositional modal logic is revised by interposing a domain of structured propositions between the modal language and the models. Interpretations of the language (i.e., ways of mapping the language into the domain of propositions) are distinguished from models of the domain of propositions (i.e., ways of assigning truth values to propositions at each world), and this contrasts with the traditional formulation. Truth and logical consequence are defined, in the first instance, as properties of, and relations among, propositions. (...) -/- These definitions have certain interesting consequences. One is that they resolve a question that cannot be answered by the traditional analysis, in which Kripke models directly interpret modal language. The question is, is the reason a modal sentence has a different truth value at other possible worlds due to the fact that the sentence has a different meaning at that world or due to a change in the world? The philosophical conception elaborates the second answer. Another interesting consequence is that modal language, properly speaking, is not intensional, at least according to the classic tests for, and definitions of, intensionality. (shrink)

In _Art Can Help_, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The (...) rest of this compilation contains texts—more than half of which have never before been published—that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair. Distributed for the Yale University Art Gallery. (shrink)

_A collection of inspiring essays by the photographer Robert Adams, who advocates the meaningfulness of art in a disillusioned society _ In _Art Can Help_, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, the book (...) begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest of this compilation contains texts—more than half of which have never before been published—that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair. (shrink)

_A collection of inspiring essays by the photographer Robert Adams, who advocates the meaningfulness of art in a disillusioned society _ In _Art Can Help_, the internationally acclaimed American photographer Robert Adams (b. 1937) offers over two-dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, the (...) book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest of this compilation contains essays—more than half of which have never before been published—that contemplate one work or a small group of works by an individual artist. Many of the objects discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays beckon the words of literary figures, including Virginia Woolf and Czesław Miłosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair. (shrink)

Andrew Benjamin’s book Disclosing Spaces (2004) presents a theory of painting. The theory is developed via a meticulous analysis of a series of individual artworks. The pivot of Benjamin’s theory of painting is the idea of relationality. The theory is critically reviewed with reference to the works of Edward Hopper, Gerhard Richter and Jacques-Louis David.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Complicating, Considering, and Connecting Music Education by Lauren Kapalka RichermeNasim NiknafsLauren Kapalka Richerme, Complicating, Considering, and Connecting Music Education (Bloomington, IN: Indiana University Press, 2020)Laurern Kapalka Richerme courageously engages with some of the significant concepts of Gilles Deleuze and Félix Guattari in a timely bounded volume, Complicating, Considering, and Connecting Music Education. Through this colossal endeavor, though not the first time a music education scholar deeply explores Deleuzian (...) concepts and theoretical analyses, Richerme provides a fresh perspective on his oeuvre within the field and paves the way for more engaged scholarly exploration on the roles and responsibilities of music education.1Considering the vanity in saying what one sees, as “what we see never resides in what we say,”2 any review of works related to Deleuzian concepts is more of an arborescent endeavor than a rhizomatic one. Consequently, the current review of Richerme’s book may also refute and go against Deleuze and Guattari’s most salient arguments. However, I would like to specifically elaborate on Richerme’s treatment of time; a much welcomed and overlooked aspect of education that Richerme has appositely and strongly delivered. “Music education is not a stagnant ‘what’ but a temporal ‘when’... While the question, ‘What is music education?’ solidifies music education into an immobile identity, asking ‘When is music education?’ emphasizes the differing, individually constructed nature of [End Page 202] educational experiences.”3 Not necessarily an original proposition to treat music education as a process rather than a product, a journey rather than a destination, a meandering rather than walking on a straight line, a desired path rather than a pre-constructed road, Richerme’s angle of this conversation takes on an entirely new path. Rather than solving the problem, as the problem is one’s music education, she elegantly modifies the question: “When is music education?”4 Richerme redirects the reader’s attention from the “spatial turn” in which the field has been engrossed to a temporal one, and from a totalizing music education to a totality of music education:5 “My voice cannot be ‘lost’ or ‘found,’ only silenced or embraced—restrained or encouraged to grow. It will always exist in an uncertain middle, differing day after day.”6Written in eight chapters with two bookending chapters with the same title, “Rhizomatic Journeying,” while the middle chapter re-considers considering and the penultimate chapter discusses the when in music education, Richerme demands the reader to attend to not only the book’s content but the poetic delivery of its prose. One could even recite the sentences and feel the elevation. Richerme’s unique voice is laudable for its humility of approach and candid pronouncements of mistakes made along the way of becoming-toward7 music educator. When reading, I felt I was a fellow traveler crossing paths with her while she shared some of her moments with me. She and I were the Nighthawks of Edward Hopper’s painting. Richerme was there to tell her story and I was there to silently listen; “the story is told and untold. Then retold.”8 And it is in this retelling that I would like to situate this review.This volume is first and foremost an ode to music education. Richerme has a command of the music education literature which manifests itself in the myriad examples she explores. She does not claim to portray novel ideas but crossing paths with other scholars in music education concerning not only Deleuzian concepts but ethical matters of education: “deeming something ‘good for’ is not the same as finding it ‘good’ in the ethical sense.”9 She does not disagree with scholars, perhaps following Deleuzian footsteps, but complements them; an exercise in nuance and scholarly practice not always historically prevalent in the field.However, this practical side of the book that attempts to situate Deleuzian concepts within music education are brought forth at the expense of a deeper level of theoretical analysis of and engagement with their comprehensively theorized concepts such as becoming, striated space, immanence, refrain, and deterritorialization. At times, it feels as though these concepts have been magiccarpeted rather than integrated within music education situations. This volume comes across, marvellously... (shrink)

Gathering information from both published and unpublished material and interviews with Gibson's family, colleagues, and friends, Reed (philosophy, Drexel U.) chronicles Gibson's life and intellectual development and his attempts to synthesize several contrasting intellectual traditions into what he ultimately called an "ecological approach" to psychology. Annotation(c) 2003 Book News, Inc., Portland, OR (booknews.com).

Aufgabe einer Philosophie ist es, die theoretische Elemente bereitzustellen, mit deren Hilfe ein Individuum sein Leben selbst gestalten kann. Das Buch beginnt mit einem Bild: Exkursion in die Philosophie (1959 Edward Hopper). Seine Forschungsreise führt zunächst in die Geschichte der Philosophie, um aufzuzeigen, wie tief die Frage der Lebenskunst in ihr verwurzelt ist, bevor sie im Verlauf des 19. und 20. Jahrhunderts fast gänzlich außer Blick geriet. Mit Bezug auf die Herausforderungen der Gegenwart werden dann die Umrisse einer Philosophie (...) der Lebenskunst skizziert.Ein neuerliches Nachdenken über die Moderne bildet den Hintergrund für die Entfaltung der Begriffe der Lebensführung, der Lebensform und des Lebensstils. Über die Frage nach dem »guten Leben« hinaus, die in den neunziger Jahren wieder an Bedeutung gewonnen hat, wird hier die weitgehende nach dem »schönen Leben« gestellt.Die Frage nach dem Subjekt der Lebenskunst wie auch nach dem Verhältnis zwischen dem Selbst und den Anderen wird eingehend erörtert. Eigens thematisiert wird die Hermeneutik der Existenz, die erforderlich ist, um sich »aufs Leben zu verstehen«, sowie die Lehr- und Lernbarkeit dieses Vermögens. Schließlich kommt es Schmid darauf an, die Problemstellung der Ökologie in ihrer Bedeutung für eine neue Lebenskunst herauszustellen und die Grundzüge einer ökologischen Lebenskunst zu entwerfen. Diese Grundlegung einer Philosophie der Lebenskunst möchte einem einst zentralen, dann »vergessenen« Interesse der Philosophie wieder die ihm gebührende Geltung verschaffen. (shrink)

Are humans rational? Various experiments performed over the last several decades have been interpreted as showing that humans are irrational we make significant and consistent errors in logical reasoning, probabilistic reasoning, similarity judgements, and risk-assessment, to name a few areas. But can these experiments establish human irrationality, or is it a conceptual truth that humans must be rational, as various philosophers have argued? In this book, Edward Stein offers a clear critical account of this debate about rationality in philosophy (...) and cognitive science. He discusses concepts of rationality - the pictures of rationality that the debate centres on - and assesses the empirical evidence used to argue that humans are irrational. He concludes that the question of human rationality must be answered not conceptually but empirically, using the full resources of an advanced cognitive science. Furthermore, he extends this conclusion to argue that empirical considerations are also relevant to the theory of knowedge - in other words, that epistemology should be naturalized. from the reviews: 'Stein has done a great service in bringing together all of the important arguments in the human rationality debate and providing a measured critical assessment of them.... This will be an important book and is essential reading for epistemologists, philosophers of mind, and cognitive and evolutionary psychologists.' Choice 'very considerable value... for professionals' Times Higher Education Supplement. (shrink)

This paper discusses certain conceptual tensions in a set of archeological texts from the Warring States period, the Guodian corpus. One of the central themes of the Guodian corpus is the disanalogy between spontaneous, natural familial relationships and artificial political relationships. This is problematic because, like many early Chinese texts, the Guodian corpus believes that political relationships must come to be characterized by unselfconsciousness and spontaneity if social order is to prevail. This tension will be compared to my earlier work (...) on the “paradox of wu-wei (effortless action),” and the Guodian corpus’ “solution” to the problem of teaching spontaneity—drawing upon the transformative power of music—will be placed within the landscape of early “Confucian” and “Daoist” theories concerning human nature and self-cultivation. (shrink)

This paper explores the moral responsibility a manager has toward a worker. The primary focus is upon those relationships whereworkers have been led to trust their managers. I argue that in such circumstances, models of the employment relationship based on rational self-interest fail to adequately describe the behavior of the actors. Rather, I show through case studies how trust operates in these environments to supercede pure, self-interested behavior. I then explore the moral implications of this finding relative to those managers (...) who lead their workers to trust them. I make the claim that these managers cannot adequately discharge their moral obligations unless they take on positive moral obligations. I cast this responsibility as one of positive care for some portion of worker welfare and briefly discuss what this might mean in practice. (shrink)

Given Heidegger’s inflammatory remarks about the intellectual poverty of modern logic, it may come as a surprise to be told that he has something to contribute to the philosophy of logic. One of the rewards of Daniel Dahlstrom’s Heidegger’s Concept of Truth is its argument that Heidegger can illuminate such issues in the philosophy of logic as the character of propositions, the nature of bivalence, and the concept of truth. Dahlstrom focuses on Heidegger’s work in the years immediately before and (...) after the publication of Being and Time, with particular emphasis on the lecture courses from this period, especially the one published as Logik: Die Frage nach der Wahrheit. (shrink)

Saul Kripke has proposed an argument to show that there is a serious problem with many computational accounts of physical systems and with functionalist theories in the philosophy of mind. The problem with computational accounts is roughly that they provide no noncircular way to maintain that any particular function with an infinite domain is realized by any physical system, and functionalism has the similar problem because of the character of the functional systems that are supposed to be realized by organisms. (...) This paper shows that the standard account of what it is for a physical system to compute a function can avoid Kripke's criticisms without being reduced to circularity; a very minor and natural elaboration of the standard account suffices to save both functionalist theories and computational accounts generally. (shrink)

Using a general model of corruption that explains and accounts for corruption across different corporate and professional activities, the paper will examine how certain practices in the media, especially in areas where journalism, advertising and public relations regularly intersect and converge, can be construed as instances of corruption. By applying this general model of corruption the paper will then offer a taxonomy of media corruption by identifying most if not all the major types of media corruption. It will be argued (...) that such corruption is regular and systematic. (shrink)

Purpose The purpose of this paper is to demonstrate how some of the information and communication practices of the Tech Media and specifically of Facebook, constitute media corruption. The paper will examine what the professional role of Facebook is regarding its information/communication practices and then demonstrate that Facebook is essentially a media company and not merely a “platform,” therefore liable to the same normative responsibilities as other media companies. Design/methodology/approach Applying the dual obligation information theory, a normative information and communication (...) theory that applies generally to all media companies that disseminate and share information, the paper demonstrates that Facebook’s role of mediating and curating the information of its users places upon it a normative editing responsibility, to ensure both the preventive detection and corrective editing of fake news, as well as other forms of misinformation disseminated on its platform. Finally, applying a philosophical model of media corruption the paper will demonstrate that Facebook’s role in the Cambridge Analytica case was not only unethical but moreover, constituted media corruption. Findings The paper concludes that Facebook’s media corruption illustrated in the Cambridge Analytica case is not a one-off case but the result of a systemic and inherent conflict of interest between its business model of selling users’ information to advertisers and its normative media role rendering the conflict of interest between those two roles conducive to media corruption. Originality/value The paper's originality is twofold. It demonstrates that Facebook is a media company normatively accountable on the basis of an original theory the DOIT and moreover, on the basis of an original media corruption theory its actions in the Cambridge Analytica case constituted media corruption. (shrink)

This is a book grounded in the real ethical challenges of modern business practice, with a world-religious perspective so necessary in an era of globalization.

The biggest obstacle to understanding Aquinas's account of the soul may be the word “soul”. On hearing it, many people are prone to think of ghosts, ectoplasm, or Rene Descartes's notion of res cogitans. None of these has anything to do with the soul as Aquinas understands it. But even the standard one‐line Aristotelian‐Thomistic characterization of the soul as the form of the living body can too easily mislead. As is well known, the word “soul” is in Aristotelian‐Thomistic philosophy essentially (...) a technical term for the substantial form of a living thing. Material substances can be destroyed by other natural objects because they do have an inherent tendency toward corruption. A human being is the kind of substance which, in its mature and normal state, exhibits both the properties and causal powers characteristic of animality and those characteristic of rationality. (shrink)