Between 1869 and 1879, the communal Christian group the Oneida Community undertook a pioneering eugenics experiment called “stirpiculture” in upstate New York. Stirpiculture resulted in the planned conception, birth, and communal rearing of fifty-eight children, bred from selected members of the Oneida Community. This article concerns how the Oneida Community's unique approach to religion and science provided the framework for the creation, process, and eventual dissolution of the stirpiculture experiment. The work seeks to expand current understanding of the early history (...) of eugenics in the United States by placing its practice more than two decades earlier than is generally considered. Additionally, this article situates the Community's leader John Humphrey Noyes as an early eugenics and social scientific thinker. Finally, the treatment provides a case study for the transitional period in mid to late nineteenth century America whereby scientific modes of epistemology were accommodated within or supplanted by theological worldviews. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

This article examines the siginifcant role that Romeplayed in the life of Ivan Sergeevich Turgenev. The author researches the “Roman” preferences of young Turgenev, who specialized in ancient literature and philosophy in Moscow, St. Petersburgand Berlin. Special attention is paid to the circumstances of 21-years-old Turgenev’s stay in the Eternal City in February–April 1840 and his relationship with members of Khovrins’ salon in Rome, espesially with the eldest daughter of Khovrin, Alexandra Nikolaevna, in marriage Bakhmeteva, whо became later a (...) wellknown writer on religious and philosophical topics. The author substantiates the version that it was young “Sashenka” Khovrina who became the prototype of Lisa Kalitina in the novel Home of the Gentry, started in Rome at the end of 1857. The author studies the “Italian traces” in the literary work of Turgenev: in early romantic poem Steno, poem Venus of Medicis, novel On the Eve, etc. The author notes that the “civilizational” contrasts between the “North” and the “South”, abundantly scattered in the works of young Turgenev, suggest that in his work has found a kind of continuation of the tradition of the “Russian Northernship,” deriving in Russian literature from G.R. Derzhavin, N.M. Karamzin, Prince P.A. Vyazemsky. (shrink)

Plant-based milk alternatives–or mylks–have surged in popularity over the past ten years. We consider the politics and consumer subjectivities fostered by mylks as part of the broader trend towards ‘plant-based’ food. We demonstrate how mylk companies inherit and strategically deploy positive framings of milk as wholesome and convenient, as well as negative framings of dairy as environmentally damaging and cruel, to position plant-based as the ‘better’ alternative. By navigating this affective landscape, brands attempt to make mylk as simultaneously palatable and (...) disruptive to the status quo. We examine the politics of mylks through the concept of palatable disruption, where people are encouraged to care about the environment, health, and animal welfare enough to adopt mylks but to ultimately remain consumers of a commodity food. By encouraging consumers to reach for “plant-based” as a way to cope with environmental catastrophe and a life out of balance, mylks promote a neoliberal ethic: they individualize systemic problems and further entrench market mechanisms as solutions, thereby reinforcing the political economy of industrial agriculture. In conclusion, we reflect on the limits of the current plant-based trend for transitioning to more just and sustainable food production and consumption. (shrink)

Catharine MacKinnon has pioneered a new brand of anti-pornography argument. In particular, MacKinnon claims that pornography silences women in a way that violates their right to free speech. In what follows, we focus on a certain account of silencing put forward by Jennifer Hornsby and Rae Langton, and we defend that account against two important objections. The first objection contends that this account makes a crucial but false assumption about the necessary role of hearer recognition in successful speech acts. In (...) response, we argue that, as silencing primarily concerns communication, Hornsby and Langton are perfectly correct to treat hearer recognition as they do. The second objection contends that their particular account of silencing has the unacceptable result of undermining the responsibility of rapists. We here argue that no such result follows from their account. (shrink)

There is a Turing computable embedding $\Phi $ of directed graphs $\mathcal {A}$ in undirected graphs. Moreover, there is a fixed tuple of formulas that give a uniform effective interpretation; i.e., for all directed graphs $\mathcal {A}$, these formulas interpret $\mathcal {A}$ in $\Phi $. It follows that $\mathcal {A}$ is Medvedev reducible to $\Phi $ uniformly; i.e., $\mathcal {A}\leq _s\Phi $ with a fixed Turing operator that serves for all $\mathcal {A}$. We observe that there is a graph G (...) that is not Medvedev reducible to any linear ordering. Hence, G is not effectively interpreted in any linear ordering. Similarly, there is a graph that is not interpreted in any linear ordering using computable $\Sigma _2$ formulas. Any graph can be interpreted in a linear ordering using computable $\Sigma _3$ formulas. Friedman and Stanley [4] gave a Turing computable embedding L of directed graphs in linear orderings. We show that there is no fixed tuple of $L_{\omega _1\omega }$ -formulas that, for all G, interpret the input graph G in the output linear ordering $L$. Harrison-Trainor and Montalbán [7] have also shown this, by a quite different proof. (shrink)

Using semiotic and historical methods, the article recovers the ancient Russian concept of ‘state’, which appeared and gained a foothold in the Russian social and cultural space in the fourteen and fifteenth centuries. In the authors’ opinions, this content has determined the basic features for understanding the State in modern post-Soviet Russian society to date. Accordingly, it is important to reassemble the main conceptual threads in the ‘state’ concept during the epoch of Ivan the Terrible, the Muscovite Tsar, the epoch (...) when the ‘state’ concept gained a foothold in Russian political culture. To re-establish the content of the ‘state’ concept, a historical description, an etymological and comparative analysis of this concept, as well as content analysis of the first epistle from Tsar Ivan the Terrible to Duke Andrei Kurbsky were employed. As a result, it was possible to recover the aspects of the ‘state’ concept that continue to be reproduced in post-Soviet Russian culture and predetermine certain elements of modern Russia’s political outlook. This concerns the central role of the ‘sovereign ruler’ in the State, the ideal of the ideological unity, the State’s mission of mediation between man and God, the hierarchy of the State and the sacral role of the ruler at the peak of this hierarchy. (shrink)

In international philosophy of music education, there are some philosophers who are important points of reference. One of them is the German Immanuel Kant (1724–1804). While his philosophy is complex, an oversimplified understanding of his ideas turned him into the “bad guy” of international music education philosophy, being in favor for instance of art for its own sake. His assumed ideas are thought to be the foundation of aesthetic education, in opposition to music education concepts promoting praxis and social change. (...) The prominent role Kant plays leads to questions: Can an eighteenth-century philosopher be blamed for twentieth-century music education concepts and their supposed aberrations? And what did Kant really say? By addressing these and related questions, this paper offers fresh perspectives on Kant’s original concept and the role his assumed ideas play in international music education philosophy, aiming at revising some discourses around them. Furthermore, Kant as a case in point, can lead to general considerations about the function of philosophy in music education philosophy. (shrink)

In this article we want to argue that mission models of inculturation and contextualization are not apt responses to the enlightenment model of mission or colonial mission and that the ‘mission as translation’ model is one way forward. We propose this explorative model of mission by engaging mission studies with translation studies in philosophy of language. The realization that mission studies, with its focus on the gospel text, missionary-interpreter and receptor community, shares structural commonalities with the central categories of translation (...) studies inspires this engagement between disciplines. Our proposal is that mission as translation is necessarily a fusion of these three horizons. Finally, we test this model in the Lotha Naga context, ending with broad implications for mission studies. (shrink)

The New Alexandrian Library is to be inaugurated at the end of 1998 on the royal site of the great ancient metropolis, that is, on the site of the Museum founded by Ptolemy I to enclose his mythical collection of books. This ambitious project of a “public research library “ was undertaken on the initiative of the Egyptian government and has, since 1986, received the support of UNESCO.

First, we argue that the appeal of effective altruism (henceforth, EA) depends significantly on a certain empirical premise we call the Heavy Tail Hypothesis (HTH), which characterizes the probability distribution of opportunities for doing good. Roughly, the HTH implies that the best causes, interventions, or charities produce orders of magnitude greater good than the average ones, constituting a substantial portion of the total amount of good caused by altruistic interventions. Next, we canvass arguments EAs have given for the existence of (...) a positive (or “right”) heavy tail and argue that they can also apply in support of a negative (or “left”) heavy tail where counterproductive interventions do orders of magnitude more harm than ineffective or moderately harmful ones. Incorporating the other heavy tail of the distribution has important implications for the core activities of EA: effectiveness research, cause prioritization, and the assessment of altruistic interventions. It also informs the debate surrounding the institutional critique of EA. (shrink)

Community music is a successful concept in the world of music and music education. Based on ethnomusicological research, community music tries to implement the notion of music for all that transforms societies and people. While celebrating informal learning and the musical amateur, community music has never really been philosophically challenged or critically analyzed. This might be surprising because community music is a rather vague concept. This paper critically analyzes some of community music’s foundations in terms of epistemological or ethnomusicological issues, (...) Kitsch, the notion of learning, and the relation to higher education. In order to improve musicking internationally, it is crucial to start critically investigating the very foundations of community music and with regard to fostering a collaboration with music education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

Abstract:Classical music has often been a chosen enemy in discourses about music in general and music education in particular. It has been blamed for being an elitist culture and perpetuating inequality in societies. This and many more rather one-sided arguments dominate the discourse about classical music. But are they really true? Should classical music therefore be eliminated from the music education curriculum? This paper analyzes selected aspects of the ongoing criticism of classical music in music education from a philosophical and (...) sociological perspective. It identifies, questions, and addresses significant arguments. The main thesis of this paper is that it might be time to deconstruct the discourses surrounding classical music, as particularly dominated by Anglo-American education, toward understanding classical music in music education from a global point of view, recognizing it as one musical culture among many others. (shrink)

In recent years, comparative education and comparative music education became important fields of research. Due to globalization, but also to international student assessments, it is most common to compare the outcomes of entire school systems or specific subject areas. The main goal is to identify the most successful systems and their best practices in order to help struggling countries to improve. While the notion of borrowing from successful systems might at first glance seem convincing, it has its clear downsides: it (...) fosters a kind of “cargo culture,” where the export and import of educational models and successful practices is undertaken without taking into account critical aspects of this procedure. This paper examines critically borrowing foreign educational practices as a goal of comparative music education, in the context of globalization. It takes an interdisciplinary perspective, using results from comparative education research and utilizing it for music education and music education philosophy. (shrink)

In recent years, the internationalization of music education has become an important topic. Scholars of various research traditions try to find the best solutions for problems in music education theory and practice by taking a look at what other countries do. English as common language seems to facilitate this recent development. However, in spite of this seemingly unproblematic way of communicating, there are various obstacles which make the mutual understanding and the internationalization of music education difficult. This particularly concerns different (...) scholarly cultures and traditions of presenting research, both in written papers and oral presentations. Most scholars realize that there are difficulties, but because they mostly only know one culture of research well, they are not aware of the reasons for these problems. Therefore, it is important to take a critical look at the scholarly traditions in Germany and the United States, examining reasons and suggesting solutions for an internationalization of music education that takes into account the strengths of various traditions, while at the same time fostering international understanding and the improvement of music education all over the world. (shrink)

En el presente artículo se revisa un tema correspondiente a la filosofía política del siglo XVI que se dio bajo la forma de la antinomia Virtud Política – Virtud Confesional. Maquiavelo no es un pensador político sistemático; sin embargo, es necesario afirmar que al menos identifica dos elemento..

A Kant se le considera completamente ajeno a la tradición analítica y positivista, sin embargo, el autor de este trabajo ha encontrado algunas voces que desde el ámbito de la analítica atribuyen a este gigante del pensamiento alemán, un papel mucho más importante y para nada insignifica..

El volumen Aesthetic Reason and Imaginative Freedom: Friederich Schiller and Philosophy continúa un esfuerzo que se viene gestando desde hace más de quince años en el ámbito de la investigación filosófica: restituir la figura de Friedrich Schiller como filósofo.

O presente texto parte de um diálogo com um artigo publicado recentemente na revista HOPOS (Journal of the International Society for the History of Philosophy of Science), de autoria dos pesquisadores Fons Dewulf e Massimiliano Simons, intitulado “Positivism in Action: The case of Louis Rougier” (2020). No artigo, os pesquisadores abordam a trajetória pouco frequentada de Louis Rougier, filósofo francês cuja fortuna crítica associou-se à sua participação na rede de intelectuais liberais do pós-guerra e a sua função central na organização (...) do Colóquio Walter Lippmann, ainda em 1938. Os autores abordam a trajetória de Rougier de maneira disciplinarmente inusual: procuram interpretar suas teorias filosóficas à luz de seus comprometimentos políticos, defendendo uma imbricação entre ambas as facetas do pensamento de Rougier. Quero sugerir que uma abordagem disposta a compreender as relações dinâmicas entre uma trajetória intelectual e seu entorno social se beneficia de uma abordagem como essa, às quais pode ser acrescida uma dimensão propriamente institucional das trajetórias intelectuais. Para observá-la, proponho acionar o debate sobre virtudes epistêmicas tal como tem sido pensado por autores como Herman Paul, Lorraine Daston e J. Dongen, com o objetivo de investigar se o debate sobre as non-textual things da atividade intelectual podem ser um caminho para transitar de forma profícua entre texto e contexto. Palavras-chave: Virtudes epistêmicas. História da Filosofia. Louis Rougier. Liberalismo. (shrink)

Is there anything wrong with publishing philosophical work which one does not believe (publishing without belief, henceforth referred to as ‘PWB’)? I argue that there is not: the practice isn’t intrinsically wrong, nor is there a compelling consequentialist argument against it. Therefore, the philosophical community should neither proscribe nor sanction it. The paper proceeds as follows. First, I’ll clarify and motivate the problem, using both hypothetical examples and a recent real-world case. Next, I’ll look at arguments that there is something (...) wrong with PWB, and show that none is sound. Then, I’ll give some reasons for thinking a norm against PWB is detrimental to the profession. Do I believe these arguments? If I’m right, it shouldn’t matter. (shrink)

Recent empirical studies have established that disgust plays a role in moral judgment. The normative significance of this discovery remains an object of philosophical contention, however; ‘disgust skeptics’ such as Martha Nussbaum have argued that disgust is a distorting influence on moral judgment and has no legitimate role to play in assessments of moral wrongness. I argue, pace Nussbaum, that disgust’s role in the moral domain parallels its role in the physical domain. Just as physical disgust tracks physical contamination and (...) pollution, so moral disgust tracks social contamination. I begin by examining the arguments for skepticism about disgust and show that these arguments threaten to overgeneralize and lead to a widespread skepticism about the justifiability of our moral judgments. I then look at the positive arguments for according disgust a role in moral judgment, and suggest that disgust tracks invisible social contagions in much the same way as it tracks invisible physical contagions, thereby serving as a defense against the threat of socio-moral contamination. (shrink)

The aim of this paper is to propose a systematic classification of emotions which can also characterize their nature. The first challenge we address is the submission of clear criteria for a theory of emotions that determine which mental phenomena are emotions and which are not. We suggest that emotions as a subclass of mental states are determined by their functional roles. The second and main challenge is the presentation of a classification and theory of emotions that can account for (...) all existing varieties. We argue that we must classify emotions according to four developmental stages: 1. pre-emotions as unfocussed expressive emotion states, 2. basic emotions, 3. primary cognitive emotions, and 4. secondary cognitive emotions. We suggest four types of basic emotions (fear, anger, joy and sadness) which are systematically differentiated into a diversity of more complex emotions during emotional development. The classification distinguishes between basic and non-basic emotions and our multi-factorial account considers cognitive, experiential, physiological and behavioral parameters as relevant for constituting an emotion. However, each emotion type is constituted by a typical pattern according to which some features may be more significant than others. Emotions differ strongly where these patterns of features are concerned, while their essential functional roles are the same. We argue that emotions form a unified ontological category that is coherent and can be well defined by their characteristic functional roles. Our account of emotions is supported by data from developmental psychology, neurobiology, evolutionary biology and sociology. (shrink)

Previous research suggested a role of gaze in preference formation, not merely as an expression of preference, but also as a causal influence. According to the gaze cascade hypothesis, the longer subjects look at an item, the more likely they are to develop a preference for it. However, to date the connection between viewing and liking has been investigated predominately with self-paced viewing conditions in which the subjects were required to select certain items from simultaneously presented stimuli on the basis (...) of perceived visual attractiveness. Such conditions might promote a default, but non-mandatory connection between viewing and liking. To explore whether the connection is separable, we examined the evaluative processing of single naturalistic food images in a 2 x 2 design, conducted completely within subjects, in which we varied both the type of exposure (self-paced versus time-controlled) and the type of evaluation (non-exclusive versus exclusive). In the self-paced exclusive evaluation, longer viewing was associated with a higher likelihood of a positive evaluation. However, in the self-paced non-exclusive evaluation, the trend reversed such that longer viewing durations were associated with lesser ratings. Furthermore, in the time-controlled tasks, both with non-exclusive and exclusive evaluation, there was no significant relationship between the viewing duration and the evaluation. The overall pattern of results was consistent for viewing times measured in terms of exposure duration (i.e., the duration of stimulus presentation on the screen) and in terms of actual gaze duration (i.e., the amount of time the subject effectively gazed at the stimulus on the screen). The data indicated that viewing does not intrinsically lead to a higher evaluation when evaluating single food images; instead, the relationship between viewing duration and evaluation depends on the type of task. We suggest that self-determination of exposure duration may be a prerequisite for any influence from viewing time on evaluative processing, regardless of whether the influence is facilitative. Moreover, the purported facilitative link between viewing and liking appears to be limited to exclusive evaluation, when only a restricted number of items can be included in a chosen set. (shrink)

The article argues that there are different ways of justifying suspension of judgement. We suspend judgement not only privatively, that is, because we lack evidence, but also positively, that is, because there is evidence that provides reasons for suspending judgement: suspension is more than the rational fallback position in cases of insufficient evidence. The article applies the distinction to recent discussions about the role of suspension for inquiry, Turri's puzzle about withholding, and formal representations of suspension.

The paper develops an inductive extension of AGM-style belief base revision theory with the aim of formally implementing Freitag’s :254–267, 2015, Dialectica 70:185–200, 2016) solution to Goodman’s paradox. It shows that the paradox dissolves once belief revision takes place on inductively closed belief bases, rather than on belief sets.

The book discusses the central notion of logic: the concept of logical consequence. It shows that the classical definition of consequence as truth preservation in all models must be restricted to all admissible models. The challenge for the philosophy of logic is therefore to supplement the definition with a criterion for admissible models. -/- The problem of logical constants, so prominent in the current debate, constitutes but a special case of this much more general demarcation problem. The book explores the (...) various dimensions of the problem of admissible models and argues that standard responses are unwarranted. As a result, it develops a new vision of logic, suggesting in particular that logic is deeply imbued with metaphysics. (shrink)

In this paper, I provide an account of the wrong that is done to women when everyday people fail to believe allegations of sexual assault made by women. I argue that an everyday person wrongs both the accuser and women causally distant from the accuser when they fail to believe the accuser’s allegation. First, I argue that there are responses that we, as everyday members of society, owe to victims of sexual assault. A condition enabling everyday people to respond in (...) the way owed to victims is that they have an outright belief that the accuser was assaulted. Actively suspending judgement about whether a crime occurred is in tension with the ability to respond to the victim in a way that supports and validates them. When an everyday person fails to have an outright belief in the truth of an allegation, they wrong the accuser because they risk failing to satisfy the conditions enabling them to fulfill their obligation to her. Second, I argue that everyday people wrong women who are causally distant from the accuser because in our social context, women are often treated in particular ways – especially in the sexual domain – because they are women. As a result, when women hear that an everyday person fails to believe a particular allegation, they easily project themselves into the accuser’s position and reasonably worry that if they were to be assaulted, they too would be met with doubt and disbelief by the people in their community. (shrink)

I will discuss the relationship between two different accounts of remedial duty ascriptions. According to one account, the beneficiary account, individuals who benefit innocently from injustices ought to bear remedial responsibilities towards the victims of these injustices. According to another account, the causal account, individuals who caused injustices ought to bear remedial duties towards the victim. In this paper, I examine the relation between the principles central to these accounts: the Beneficiary Pays Principle and the well-established principle of Strict Liability (...) in law. I argue that both principles display a strong yet unexplored similarity as they make certain kinds of causal connection sufficient for incurring liability. Because of this similarity, I suggest that insights into the Beneficiary Pays Principle can be gained from exploring its relation with Strict Liability. In particular, I examine two new positive arguments that could be adapted to support of the Beneficiary Pays Principle: the Minimising Injustice Argument and the Normative Connection Argument. However, I’ll show that only one of those arguments, namely the Normative Connection Argument, can truly support the Beneficiary Pays Principle. I conclude that, if you endorse the Normative Connection Argument for Strict Liability, you have at least a strong prima facie reason to endorse the parallel argument for the Beneficiary Pays Principle. (shrink)