The reinforcement sensitivity theory proposes that neurobiological systems mediate protective and appetitive behaviours and the functioning of these systems is associated to personality traits. In this manner, the RST is a link between neuroscience, behaviour, and personality. The theory evolved to the present revised version describing three systems: fight-flight-freezing, behavioural approach/activation, and behavioural inhibition. However, the most widely available measure of the theory, the BIS/BAS scales, only investigates two systems. Using a large longitudinal community survey, we found that the (...) BIS/BAS scales can be re-structured to investigate the three systems of the theory with a BIS scale, three BAS scales, and a separate fight-flight-freezing system scale. The re-structured scales were age, sex, and longitudinally invariant, and associations with personality and mental health measures followed theoretical expectations and previously published associations. The proposed framework can be used to investigate behavioural choices influencing physical and mental health and bridge historical with contemporary research. (shrink)

An approach to emotion is described in which emotions are defined as states elicited by instrumental reinforcers, that is, by stimuli that are the goals for action. This leads to a theory of the evolutionary adaptive value of emotions, which is that different genes specify different goals in their own self-interest, and any actions can then be learned and performed by instrumental learning to obtain the goals. The brain mechanisms for emotion in brain regions such as the orbitofrontal (...) and anterior cingulate cortex provide a foundation for understanding the neural basis of emotion. Classically conditioned effects may modulate the actions initiated by this system. In addition to this instrumental learning system, some stimuli may elicit responses, for example approach, withdrawal, or fixed action patterns, but intervening states are not required for this type of adaptive response. In addition, a rational thought system involved in multistep planning can allow gene-specified goals to be deferred or avoided in order to achieve longer-term types of goals that may be more advantageous to the individual than to the genes. (shrink)

Examines interrelated topics in Medieval and Renaissance Latin literature: the status of women as writers, the status of women as rhetorical figures, and the status of women in society from the fifth to the early seventeenth century.

Music performance anxiety (MPA) is a multifaceted phenomenon occurring on a continuum of severity. In this survey study, we investigated to what extent the affective (anxiety), cognitive (catastrophizing), and somatic (bodily complaints) components of MPA prior to solo performances vary as a function of age, gender, instrument group, musical experience, and practice as well as how these MPA components relate to self-rated change in performance quality from practice to public performance. The sample comprised 75 male and 111 female classical (...) music university students, aged 15–45 years. Age was positively associated with anxious feelings and bodily complaints. Compared to male students, female students reported significantly more anxious feelings and catastrophizing. Singers reported less anxious feelings and catastrophizing than instrumentalists. Breathing-, mouth- and throat-related complaints were highest among singers and wind players; hand- and arm-related complaints were highest among string players and pianists. The indices of musical experience and practice had marginal effects. An average of four bodily complaints bothered the participants strongly to very strongly. Worsening in performance quality from practice to public performance was reported by almost half of the participants and was best predicted by anxious feelings and breathing-related complaints. We conclude that age, gender and instrument play a significant role in understanding the phenomenology of MPA. Musicians should be examined according to these characteristics rather than as one homogenous population. In particular, it might be valuable to develop assessment tools for MPA that incorporate items related to the bodily complaints that are most relevant to the different instrument groups. Breathing-related complaints could add an important dimension to the investigation of MPA and music performance. Finally, the high percentage of students reporting worsening of their performance quality from practice to public performance highlights the need of professional support to help music students be able to perform at their best and thrive as artists. (shrink)

Biosemiotics—a discipline in the process of becoming established as a new research enterprise—faces a double task. On the one hand it must carry out the theoretical and experimental investigation of an enormous range of semiotic phenomena relating organisms to their internal components and to other organisms (e.g., signal transduction, replication, codes, etc.). On the other hand, it must achieve a philosophical re-conceptualization and generalization of theoretical biology in light of the essential role played by semiotic notions in biological explanation and (...) modeling. This paper attempts to contribute to the second task by tracing some aspects of the historical evolution of explanatory models in biology. In so doing, a parallel can be drawn between the present status of biosemiotics and that of physics during the early decades of the last century. By following the career of the concept instrument (organon) in Aristotelian science, we revisit historical stages of the antithetical (but often complementary) roles of mechanical and teleological forms of explanation. The impact of the introduction of the organic codes in biology is seen to be somewhat analogous to that of the introduction of the quantum of action in physics. Faced with intractable empirical facts, physicists combined experimental results and bold philosophical speculation to create quantum physics—a wider, deeper framework that accommodates the new facts through a wholesale reformulation of the classical ideas. Essential to this development was the articulation of the epistemic functions of instruments, which was absent from classical physics. Similarly, the consideration of the role of instruments in biology may lead to a synthesis of Aristotelian and Kantian intuitions within a wider framework capable of joining now separate perspectives, such as Jablonka’s four-fold view of inheritance information, Barbieri’s theory of artifactual copymakers and codemakers, and recently developed models of causation based on the idea of manipulative interventions. (shrink)

A widespread view among physicists is that Bell’s theorem rests on an implicit assumption of “classicality,” in addition to locality. According to this understanding, the violation of Bell’s inequalities poses no challenge to locality, but simply reinforces the fact that quantum mechanics is not classical. The paper provides a critical analysis of this view. First we characterize the notion of classicality in probabilistic terms. We argue that classicality thus construed has nothing to do with the validity of classical (...) physics, nor of classical probability theory, contrary to what many believe. At the same time, we show that the probabilistic notion of classicality is not an additional premise of Bell’s theorem, but a mathematical corollary of locality in conjunction with the standard auxiliary assumptions of Bell. Accordingly, any theory that claims to get around the derivation of Bell’s inequalities by giving up classicality, in fact has to give up one of those standard assumptions. As an illustration of this, we look at two recent interpretations of quantum mechanics, Reinhard Werner’s operational quantum mechanics and Robert Griffiths’ consistent histories approach, that are claimed to be local and non-classical, and identify which of the standard assumptions of Bell’s theorem each of them is forced to give up. We claim that while in operational quantum mechanics the Common Cause Principle is violated, the consistent histories approach is conspiratorial. Finally, we relate these two options to the idea of realism, a notion that is also often identified as an implicit assumption of Bell’s theorem. (shrink)

As Kant claimed in the Groundwork, and as the idea has been developed by Korsgaard 1997, Bratman 1987, and Broome 2002. This formulation is agnostic on whether reasons for ends derive from our desiring those ends, or from the relation of those ends to things of independent value. However, desire-based theorists may deny, against Hubin 1999, that their theory is a combination of a principle of instrumental transmission and the principle that reasons for ends are provided by desires. Instead, (...) they may say, there is just one principle, a principle of, if you will, instrumental transmutation: if one desires the end, then one has reason to take the means. See the discussion of General Production, in section 8, for a doubt about this. (shrink)

Abstract:For decades, education has been inundated with neoliberal policies described as enabling its structures to adjust to a global knowledge economy. Located at the intersection of such "reform" language and classical liberal economic theory is a troubling paradox–the idea that knowledge should be centrally concentrated in order to "liberalize" education along free market lines. This essay considers implications of centralized knowledge for music education in light of this contradiction and the rhetoric that obscures it. To raise awareness of this (...) paradox, I briefly summarize some of the literature on neoliberalism and state intervention before examining the ideas of an individual skeptical of central knowledge planning despite his pivotal role in the birth of modern educational "reform": Peter Drucker. The ideological collapsing of Drucker's nuanced views by neoliberal interests stands in stark contrast with what could be a less instrumental argument for the development of problem-solving skills for lifelong benefit. Finally, I ask whether we reinforce this contradiction if we champion music's curricular legitimacy and relevance, yet fail to teach students to think musically for themselves as evidenced by prescriptive instructional methods or participation in standardizing musical knowledge through failure to resist the totalizing ideology of the audit culture. (shrink)

You should be specific, but also explain the context and relevance of the term. (Each ID is worth 5 points).

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Driven from Home: Protecting the Rights of Forced Migrants Edited by David Hollenbach, SJ, and: Kinship across Borders: A Christian Ethic of Immigration by Kristen HeyerRené M. Micallef SJDriven from Home: Protecting the Rights of Forced Migrants EDITED BY DAVID HOLLENBACH, SJ Washington DC: Georgetown University Press, 2010. 296 pp. $20.46Kinship across Borders: A Christian Ethic of Immigration KRISTEN HEYER Washington DC: Georgetown University Press, 2012. 210 pp. (...) $29.23Although based on a conference held at Boston College in November 2008, Driven from Home is no less timely today, given the context of current debates on immigration in the United States, the European Union, Australia, and the Middle East. David Hollenbach’s introduction explains how the book brings together Christian (mostly Catholic) theologians, human rights activists, humanitarian practitioners, and legal scholars to help us focus on a class of persons referred to as “forced migrants” or “persons needing protection.” These individuals are neither classical “convention refugees” (according to international law definitions) nor are they simply “migrant workers” (in the classical sense) since their basic human rights to security and subsistence cannot [End Page 230] be adequately guaranteed in their home country or region. They do not emigrate merely in search of a higher standard of living; rather, forced migrants enter and settle in foreign lands seeking some sort of “protection” similar to that afforded to “conventional” refugees. More concretely, the book focuses on persons on the move—individuals fleeing violence and the extreme poverty rampant in regions devastated by ecological degradation and natural disasters.Extending the logic of the 1952 Refugee Convention and adapting it to the realities of today, one can argue convincingly that the international community has a duty to protect such persons when their states of origin are structurally unable or unwilling to afford protection (as argued in Susan Martin’s essay). However, paternalistic approaches that diminish rather than augment the agency of local governments and migrants are to be avoided (as maintained in M. Brinton Lykes’ essay). The book helps us reflect on what can be done to guarantee the basic rights of forced migrants not only at the level of international law and institutions but also through domestic and regional policymaking spurred and inspired by both Christian and secular global-humanitarian values. Such values are eminently compatible when applied to this particular issue (see Silvano Tomasi’s contribution). Agbonkhianmeghe Orobator’s essay—which offers insightful reflections (albeit rather general ones) from Christian ethics, ecclesiology, and biblical theology—likewise points to the need for a truly interdisciplinary approach to the issue. The other authors help the book achieve precisely this. Theological ethics finds its own distinctive place and voice in dialogue with a range of perspectives: legal and political sciences and case studies (Frank Brennan, Daniel Kanstroom); philosophical approaches (Arash Abizadeh); and sociological research on particular migrant populations (M. Brinton Lykes, Maryanne Loughry). The book includes essays that integrate case studies, technical reflections, useful summaries of theological principles and doctrines (J. Bryan Hehir, Mary M. DeLorey, and Tomasi), and philosophical stances (Abizadeh, Thomas G. Weiss), and present practical and legal proposals (see Martin’s essay). A stimulating read for scholars and for the general public, the volume provides good training material for faith-based activists and practitioners.The argumentation strategy in many of the essays in Driven from Home is to appeal to the reader’s sense of solidarity with the needy or suffering neighbor. It promotes the virtues of hospitable citizenship and hospitable disciple-ship while carefully trying to convince national and international policymakers to reinforce and expand the international protection regime. Emboldened by the 2005 “Responsibility to Protect” breakthrough at the United Nations, the authors seek to remain acceptable to a wide audience in an atmosphere of resurgent nationalism, nativism, and protectionism. The authors generally avoid harsh critiques of Westphalian models of sovereignty and do not dwell [End Page 231] on the Catholic doctrines of the universal destination of created goods and the (circumscribed) right to immigrate (and not only to emigrate). Rather, they seek to introduce a new protection niche without fundamentally challenging the prevailing ideology of sovereignty, gently proposing new legal instruments as though they... (shrink)

This book is a consideration of the differences between Aristotelian and symbolic logic (and the metaphysical assumptions they come packaged with) and the consequences these have for how we view the world. What Veatch propose is to try to exhibit with respect to several of the key logical tools and devices – propositions, inductive and deductive arguments, scientific and historical explanations, definitions, etc. – how these several instruments are differently conceived, both as to their natures and their functions, in each (...) of these respective logics. (shrink)

Rolls presents a theory of emotion based on the premise that emotions are evoked by events that are capable of being instrumental reinforcers and punishers. As support for this theory is drawn almost entirely from experiments in non-human primates, valuable insights into the relationship between punishment and reinforcement systems, and the nature of instrumentality, may have been overlooked.

For many countries instrumental music tuition in secondary schools is a ubiquitous event that provides situated and personalized instruction in the learning of an instrument. Opportunities and methods through which teachers operate during the COVID-19 outbreak challenged music educators as to how they taught, engaged, and interacted with students across online platforms, with alarm over aerosol dispersement a major factor in maintaining online instrumental music tuition even as students returned to “normal” face to face classes. This qualitative study (...) investigated the practices employed by instrumental music educators in secondary schools in Melbourne, Australia, analyzing teacher perspectives to music tuition amidst the restriction of interaction with students remotely via online means. Thematic analysis of the interview transcripts revealed music educational approaches that fostered connection, empathy and receptiveness to relationship-building, guiding students in slower and deeper learner-centered approaches, asserting pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. These findings provide a framework for how music educators can facilitate connection, motivation and student autonomy generating personal meaning and commitment to music making and the learning relationship, which can translate to significant student learning and value in the learning music. Exploring teachers’ pedagogical practices and behaviors within this dyadic teacher-student relationship is a significant addition to the literature, enabling the consideration of the type of connective behaviors required to stimulate and develop long-term interest in music. (shrink)

This article presents a reconstruction of the so-called classical, formal or Mendelian genetics, which is intended to be more complete and adequate than existing reconstructions. This reconstruction has been carried out with the instruments, duly modified and extended with respect to the case under consideration, of the structuralist conception of theories. The so-called Mendel’s Laws, as well as linkage genetics and gene mapping are formulated in a precise manner while the global structure of genetics is represented as a theory-net. (...) These results are of methodological, philosophical and didactical relevance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

Abstract:Part sociological analysis of race and class in colonial Trinidad, part autobiographical Bildungsroman, Beyond a Boundary is the cricketing memoir of Trinidadian intellectual and anticolonial activist C. L. R. James (1901–1989). We argue that it offers a good site for thinking through the position of the racially minoritized intellectual entangled in neocolonial logics of cultural hierarchy and identification. We examine James' use of ironic narrative voice to instrumentalize the colonial values encoded in the "Spirit of Cricket." Beyond a Boundary therefore (...) re-imagines the scope of knowledge-making, be it in cricket, art, or indeed Classics, beyond traditionally naturalized hierarchies of race and class. (shrink)