The abuse of history is common and quite possibly once more on the rise. Although this is well documented, there is no general theory that enables historians to identify, prove, explain, and evaluate the many types of abuse of history. In this book, the author presents such a theory. Reflecting on the responsible use of history, the author identifies the duties that the living has toward the dead and analyzes the rights to memory and history necessary to fulfill these duties. (...) He concludes his argument by proposing a code of ethics as a guide for responsible historians. This work is vital for any historian who wants to oppose and prevent the abuse of history."-- Book jacket. (shrink)

In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept ofeudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and video (...) recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting). (shrink)

In this paper we discuss the musical work of classical composer Benjamin Britten as a lasting legacy for public music education. Our starting point is the contemporary urgency to rethink both public music education in general, and the public-educational significance of Western classical music in particular, in the face of the dual threats posed by anti-educational tendencies of “functionalization” and “hobbyfication.” Relating this situation to concerns already voiced by Britten in his time, we consider in what ways aspects of Britten’s (...) musical work can be shown to reveal a highly original, post-critical answer to these threats. While his pedagogical musings remain riddled with ambiguities, which readily invite critical deconstruction, our paper argues for the more affirmative option of reconceptualizing these ambiguities as constitutive tensions of a public-educational love for (classical) music. To gauge the practical implications of such a post-critical music-educational love, we analyze the concrete case of the Aldeburgh Festival, perhaps Britten’s most full-fledged effort to reclaim music as a public affair. Thinking about this case, we reflect on how Britten’s legacy could lastingly impinge on the publicness of Western classical music, as well as on ongoing and future practices of public music education in general. (shrink)

We introduce the notion of a dice model as a framework for describing a class of probabilistic relations. We investigate the transitivity of the probabilistic relation generated by a dice model and prove that it is a special type of cycle-transitivity that is situated between moderate stochastic transitivity or product-transitivity on the one side, and Lukasiewicz-transitivity on the other side. Finally, it is shown that any probabilistic relation with rational elements on a three-dimensional space of alternatives which possesses this particular (...) type of cycle-transitivity, can be represented by a dice model. The same does not hold in higher dimensions. (shrink)

Defamation is the act of damaging another’s reputation. According to recent legal research, defamation laws may be improperly used in many ways. Some of these uses profoundly affect the historian’s work: first, when defamation laws protect reputations of states or nations as such; second, when they prevent legitimate criticism of officials; and, third, when they protect the reputations of deceased persons. The present essay offers two tests of these three abuses in legal cases where historians were defendants. The first test, (...) a short worldwide survey, confirms the occurrence of all three abuses; the second test from nine western European countries) the occurrence of the third abuse. Both tests touch on problems central to the historical profession: living versus deceased persons; facts versus opinions; legal versus historical truth; the relationship between human dignity, reputation, and privacy; the role of politicians, veterans, and Holocaust deniers as complainants; the problem of amnestied crimes. The second test—the results of which are based on verdicts, commentaries, and press articles, and presented in a synoptic table—looks closely into the complainants’ and defendants’ profiles, the allegedly defamatory statements themselves, and the verdicts. All statements deemed defamatory were about such contemporary events as World War II and colonial wars. Both tests amount to two conclusions. The first one is about historians’ professional rights and obligations: historians should make true, but privacy-sensitive or potentially offending, statements only when the public interest is served; otherwise, they should have a right to silence. The second conclusion concerns defamation itself: defamation cases and threats to sue in defamation have a chilling effect on the historical debate; they are often but barely veiled attempts at censorship. (shrink)

ABSTRACTThis essay investigates the thesis that inhumanity breeds humanity. Many questions arise when we try to corroborate it: Can we say anything at all about the inhumanity of human beings? Why did large‐scale inhumanity occurring before 1700 not elicit a human rights regime? Was the human rights take‐off from 1760 to 1800 triggered by instances of inhumanity, and why did the take‐off not last? Why did the human rights idea eclipse after 1800 only to reemerge after 1945? Were war and (...) genocide the sole causes of the human rights revival after 1945 or were there also other factors? Was the breakthrough in 1977 of human rights as a mass movement related to any inhumanity? And, finally, is the contemporary enthusiasm for human rights, with 1998 as its stepping stone, sufficient to make atrocities unthinkable for good? I conclude that, at several moments in history, inhumanity did propel humanity, but also that there are many other instances in which inhumanity only gave birth to more inhumanity. If the inhumanity thesis were necessarily true, we would need more human rights catastrophes to inspire more human rights progress. And that would be a self‐defeating paradox. (shrink)

There is perhaps no text with a broader impact on our lives than the 1948 Universal Declaration of Human Rights . It is strange, therefore, that historians have paid so little attention to the UDHR. I argue that its potential impact on the study of history is profound. After asking whether the UDHR contains a general view of history, I address the consequences of the UDHR for the rights and duties of historians, and explain how it deals with their subjects (...) of study. I demonstrate that the UDHR is a direct source of five important rights for historians: the rights to free expression and information, to meet and found associations, to intellectual property, to academic freedom, and to silence. It is also an indirect source of three duties for historians: the duties to produce expert knowledge about the past, to disseminate it, and to teach about it. I discuss the limits to, and conflicts among, these rights and duties. The UDHR also has an impact on historians’ subjects of study: I argue that the UDHR applies to the living but not to the dead, and that, consequently, it is a compass for studying recent rather than remote historical injustice. Nevertheless, and although it is itself silent about historians’ core duties to find and tell the truth, the UDHR firmly supports an emerging imprescriptible right to the truth, which in crucial respects is nothing less than a right to history. If the UDHR is a “Magna Carta of all men everywhere,” it surely is one for all historians. (shrink)

We introduce two extreme methods to pairwisely compare ordered lists of the same length, viz. the comonotonic and the countermonotonic comparison method, and show that these methods are, respectively, related to the copula T M (the minimum operator) and the Ł ukasiewicz copula T L used to join marginal cumulative distribution functions into bivariate cumulative distribution functions. Given a collection of ordered lists of the same length, we generate by means of T M and T L two probabilistic relations Q (...) M and Q L and identify their type of transitivity. Finally, it is shown that any probabilistic relation with rational elements on a 3-dimensional space of alternatives which possesses one of these types of transitivity, can be generated by three ordered lists and at least one of the two extreme comparison methods. (shrink)

Abstract:In this paper we reconceptualize general music education as a "classical music education," departing from speculative reflection on the notion of conducting. We constitute this notion as an interpretative axis connecting, on the one hand, a different perspective on what classical music might mean in the context of general education, and, on the other hand, a more dynamic, techno-ecological concept of both music and education. This paper develops these connections by thinking along with a concrete specimen of classical music in (...) the strict sense, Mahler's First Symphony, in order to show exactly how thinking about such works may actually take on an aspect that is classical in a more properly general educational sense. Beyond a dichotomy between aesthetical and praxial appraisals of the classical musical work, with their exclusive emphases on intelligible form and socio-critical praxis respectively, our idea of classical music education implies a dynamic (re)conducting of the works. Through practices of (re)conducting, music education can treat works, not as static monuments of eternal beauty or instances of socio-historical criticality, but as catalysts of self-differentiating, transhuman musical experiences—of playing, listening, composing, and thinking—in which human, instrumental, and other techno-ecological agencies mutually transform each other. (shrink)

The Cell Cycle Ontology (CCO) has the aim to provide a 'one stop shop' for scientists interested in the biology of the cell cycle that would like to ask questions from a molecular and/or systems perspective: what are the genes, proteins, and so on involved in the regulation of cell division? How do they interact to produce the effects observed in the regulation of the cell cycle? To answer these questions, the CCO must integrate a large amount of knowledge from (...) diverse sources; the irregularity and incompleteness of this information suggests an ontology can act as the means of this integration. The volatility and continued expansion of biological knowledge means the content and modelling of the CCO will have to be frequently changed and updated. The CCO is generated from the input data automatically once every two months. This makes it easy to change the representation to enable certain queries; incorporate new knowledge; and consistently apply design patterns across the CCO. The automatic process also allows the CCO to be delivered in a variety of representations that suit the needs of various CCO customers and the abilities of existing toolsets. In this paper we present the CCO and its characteristics of utility and flexibility, that, from our perspective, make it a beautiful ontology. (shrink)

ABSTRACT A modal logic interpretation of Dempster-Shafer theory is developed in the framework of multivalued models of modal logic, i.e. models in which in any possible world an arbitrary number (possibly zero) of atomic propositions can be true. Several approaches to conditioning in multivalued models of modal logic are presented.