This article is a textual analysis of messages and themes in "Calvin and Hobbes," a comic strip nationally syndicated from 1985 to 1995. The article examines the content found in "Calvin and Hobbes" to determine underlying messages concerning ethics and values. Specifically, the messages are analyzed to determine under which category of metaethics-deontological, teleological, and virtue-they fall.

Few figures of the Middle Ages command the attention of so many modern disciplines as Robert Grosseteste (c. 1170-1253). Theology, Philosophy, History, and Science are all areas which his life and thought continue to have significance and to inspire re-interpretation. Accompanied by a series of original commentaries, this new edition of Grosseteste's work, with English translation, draws together the perspectives of modern scientists and medieval specialists. Volume I of a six volume series, Knowing and Speaking presents two of the earliest (...) of Grosseteste's works, the treatises On the Liberal Arts and On the Generation of Sounds. These are accompanied by a significant Middle English treatise on the Seven Liberal Arts whose anonymous fifteenth-century author translated and excerpted passages from Grosseteste's treatises in a re-imagining of their structure and function.0Each work is treated separately within the volume, which is constructed in three parts. On the Liberal Arts sets Grosseteste's thoughts on the arts subjects and emphasises moral concerns about the purpose of learning. On the Generation of Sounds builds on the theories and statements of On the Liberal Arts in connection to the production of sound, elaborating the earlier position, relating the generation of sounds to human vocal and speech production. (shrink)

Sharply in focus in the United States right now is the disproportionate COVID‐19 infection, hospitalization, and mortality rates of Black, Indigenous, Hispanic, and Pacific Islanders living in the United States in contrast to White people. These COVID‐19 disparities are but one example of how systemic racism filters into health outcomes for many Black, Indigenous, and other People of Color (BIPOC). With these issues front and center, more attention is being given to the ways that White medical professionals contribute (...) to these disparities, including their socialization to ignore or deny inequities. As such, the present study sought to understand how educating White health‐care pre‐professionals about systemic racism might influence their understanding of and responsibility for disrupting White supremacy. Data were drawn from 49 White‐identified nursing students who participated in a mapping project that uncovered instantiations of systemic racism in the United States. Participant written reflections were analyzed using thematic analysis. Findings revealed that mapping projects can develop White people's knowledge and understanding of systemic racism. We introduce the construct, transformative dissonant encounters, to describe how this project precipitated shifts in world view necessary for White people to confront systemic racism. Implications for nursing educators, psychological researchers, and antiracist activists are discussed. (shrink)

The cover image of Nathaniel Coleman’s Imagining and Making the World is a photo by Coleman of Carlo Scarpa’s Castelvecchio Museum renovation in Verona. It shows the skillful layering of elements from different eras assembled by Scarpa and the bridge that connects the upper floors of two buildings from different periods. Such skillful connecting of disparate things is rare. Yet this is what Coleman and his contributors have set out to do: connect architecture and utopia.Coleman himself (...) seems to question this enterprise. In his introduction he writes, “If the likelihood of achieving a utopian moment in architecture that is sustainable through time and occupation appears... unpromising, what possible claim could.. (shrink)

Frank Jackson's knowledge argument imagines a super-smart scientist, Mary, forced to investigate the mysteries of human colour vision using only black and white resources. Can she work out what it is like to see red from brain-science and physics alone? The argument says no: Mary will only really learn what red looks like when she actually sees it. Something is therefore missing from the science of the mind, and from the 'physicalist' picture of the world based on science. This (...) powerful and controversial argument remains as pivotal as when it was first created in 1982, and this volume provides a thorough and incisive examination of its relevance in philosophy of mind today. The cutting-edge essays featured here break new ground in the debate, and also comprehensively set out the developments in the story of the knowledge argument so far, tracing its impact, past, present, and future. (shrink)

In 'The duty to miscegenate', I harness John Stuart Mill's 19th century theory of social freedom to explain and to dismantle contemporary racialised and gendered injustice. In the first chapter—Social stigmatisation: 'a social tyranny'—I argue that persons racialised-and-gendered-as-black-women were, in the past, unjustly stigmatised by legal penalties against 'miscegenation' and are still, today, unjustly stigmatised by white male avoidance of cross-racial marriage and companionship. In the second chapter—Encounters that count: 'a foundation for solid friendship'—I argue that we can dismantle (...) this stigmatisation, by engaging in regular and frequent cross-racial commensality with persons racialised-and-gendered-as-black-women. In the third chapter—White right: 'a right to avoid'—I argue that, although we have a right to avoid commensal encounters with others, we do not have a right to avoid persons we racialise as black. On the contrary, we have a duty to encounter them, on terms of equality and intimacy. (shrink)

Nineteenth-century imperialist discourses constructed European colonisation of indigenous inhabitants as an inevitable and necessary process for the progress of the colonies and the extension of the British Empire. Within this construct, imperialist and patriarchal discourses intersected to construct ‘white women’ in a manner that denied them legitimacy as autonomous individuals but simultaneously positioned them as actors within the imperial endeavour. Recent feminist scholarship has extended this historiography by considering how some women in nineteenth-century New Zealand were complexly positioned as (...) both agents and critics of colonisation, involved in imperial strategies and yet disruptive of practices of cultural assimilation of Maori. This article furthers this scholarship through an illustrative case study of one woman who embodied this complex positioning within patriarchal and imperialist discourses. English-born wife of the first Chief Justice of New Zealand, and outspoken critic of colonial policies associated with government appropriation of Maori land, Mary Ann Martin was actively involved in establishing Anglican training institutions for young Maori men and women, and in dispensing medical assistance to Maori. Examination of her positioning on the margins of imperial discourses offers an opportunity to consider the operation of colonialism as a discourse implicated by gendered, racialised identities. Detailed textual analyses of selected extracts of her reminiscences of her 34-year residence in New Zealand, which focus on her positioning as a member of the ‘inferior’ sex in the dominant race, offer an opportunity to examine the ways in which she simultaneously challenged and reinforced Victorian prescriptions of respectable womanhood; how her views on and interactions with Maori may have destabilised accepted notions of women's appropriate spheres of influence; and the extent to which her challenges to dominant views on race relations may have been inflected by her positioning within gendered discourses of femininity. (shrink)

Single-sided deafness (SSD) or profound unilateral hearing loss obligates the only serviceable ear to capture all acoustic information. This loss of binaural function taxes cognitive resources for accurate listening performance, especially under adverse environments or challenging tasks. We hypothesized that adults with SSD would manifest both functional and structural brain plasticity compared to controls with normal binaural hearing. We evaluated functional alterations using magnetoencephalographic imaging (MEGI) of brain activation during performance of a moderately difficult auditory syllable sequence reproduction task and (...) assessed structural integrity using diffusion tensor magnetic resonance imaging (DTI). MEGI showed the SSD cohort to have increased induced oscillations in the theta band over the left superior temporal cortex and decreased induced gamma band oscillations over the frontal and parietal cortices between 175-475 ms following stimulus onset. DTI showed the SSD cohort to have extensive fractional anisotropy reduction in both auditory and non-auditory tracts and regions. Overlaying functional and structural changes revealed by the two imaging techniques demonstrated close registration of cortical areas and white matter tracts that expressed brain plasticity. Hence, complete loss of input from one ear in adulthood triggers both functional and structural alterations to dorsal temporal and frontal-parietal areas. (shrink)

Philip Roth’s novel 'The Human Stain' recounts an instance of racial passing: its protagonist, Coleman Silk, is African-American but light-skinned enough to pass as white. Coleman’s decision to pass and his subsequent violent death, I argue, confront us with complex ethical questions regarding unjust social roles, loyalty, and moral luck. I also argue, building on Hegel’s definition of tragedy, that 'The Human Stain' is a particularly modern tragedy. The novel highlights conflicting role obligations, inadequate conceptions of freedom, (...) and the tensions of cultural paradigm shifts—all characteristics typical of modern tragedy. I claim that parsing 'The Human Stain' as a tragedy deepens our understanding of the novel as well as drawing our attention to its philosophical significance. (shrink)

Bioethics at the Movies explores the ways in which popular films engage basic bioethical concepts and concerns. Twenty philosophically grounded essays use cinematic tools such as character and plot development, scene-setting, and narrative-framing to demonstrate a range of principles and topics in contemporary medical ethics. The first section plumbs popular and bioethical thought on birth, abortion, genetic selection, and personhood through several films, including The Cider House Rules, Citizen Ruth, Gattaca, and I, Robot. In the second section, the contributors examine (...) medical practice and troubling questions about the quality and commodification of life by way of Dirty Pretty Things, Eternal Sunshine of the Spotless Mind, and other movies. The third section's essays use Million Dollar Baby, Critical Care, Big Fish, and Soylent Green to show how the medical profession and society at large view issues related to aging, death, and dying. A final section makes use of Extreme Measures and select Spanish and Japanese films to discuss two foundational matters in bioethics: the role of theories and principles in medicine and the importance of cultural context in devising care. Structured to mirror bioethics and cinema classes, this innovative work includes end-of-chapter questions for further consideration and contributions from scholars from the United States, Canada, the United Kingdom, Israel, Spain, and Australia. Contributors: Robert Arp, Ph.D., Michael C. Brannigan, Ph.D., Matthew Burstein, Ph.D., Antonio Casado da Rocha, Ph.D., Stephen Coleman, Ph.D., Jason T. Eberl, Ph.D., Paul J. Ford, Ph.D., Helen Frowe, M.A., Colin Gavaghan, Ph.D., Richard Hanley, Ph.D., Nancy Hansen, Ph.D., Al-Yasha Ilhaam, Ph.D., Troy Jollimore, Ph.D., Amy Kind, Ph.D., Zana Marie Lutfiyya, Ph.D., Terrance McConnell, Ph.D., Andy Miah, Ph.D., Nathan Norbis, Ph.D., Kenneth Richman, Ph.D., Karen D. Schwartz, LL.B., M.A., Sandra Shapshay, Ph.D., Daniel Sperling, LL.M., S.J.D., Becky Cox White, R.N., Ph.D., Clark Wolf, Ph.D. (shrink)

Racism as an independent topic of investigation in philosophy has considerably developed since the 1990s, when it appeared as part of growing debates that, on the one hand, investigated the political meaning of race and, on the other, its ontology and whether it existed at all. Likewise, with the idea of racism, its broadly normative meaning is critiqued by some philosophers, while others ask how best to conceive of it and identify its immorality. There were a few early and significant (...) forays in philosophy about the nature of racism, of which three works stand out because of the way they set the terms of the debate: David Theo Goldberg's Racist Culture, Charles W. Mills’ The Racial Contract, and Jorge L.A. Garcia's “The Heart of Racism.”1 This collection reacts to the latter fork in the discussion but does so in ways that significantly touch on the former.The collection begins with Jorge L. Garcia's “Virtue Ethics in Social Theory: Defending a Volitional Analysis of Racism from Tommie Shelby's Challenges.” It is a clarification and defense of his influential volitional analysis of racism (VAR) from three prominent objections: that VAR inadequately accounts for the immorality of racism because it relies on the assumed wrongness of racism built into ordinary usage of the term ‘racist;’ that it mistakenly separates intention from belief; and that it does not fully account for the racism of some troubling mental states that cannot be traced back to a racist ill-will. Garcia's account of racism as fundamentally rooted in racist ill-will, along with Lawrence Blum's, is representative of agent-centered theories of racism. Not only do they attempt to explain individual or personal racism, but they also hold that racism in institutions, structures, or systems traces back to the racism of persons.Current accounts of structural racism, however, claim that it exists and operates independently of infection from intentionally racist persons, that the focus on racist persons cannot adequately account for how racism works in society, and that, instead, we should concentrate on structures and ideologies. Amelia Wirts sharply defends this view in her, “What does it mean to say ‘The Criminal Justice System is Racist’?” She explains how structural racism applies to America's criminal justice system and other “intermediate” (between individual and societal level) structures. Wirts argues that personal accounts of racism, and in particular Garcia's VAR, do not adequately account for the patterns of racial disparity in the criminal justice system or its disproportionate harm to black people. She advocates, instead, for a patterned view of structural racism, the patterns of which operate “as if it were designed to disproportionately harm” some racialized group. Additionally, Wirts adds that such patterns are particularly racist when they fuel racist ideological symbols, as the criminal justice system does in relation to the idea of the black criminal.Structural analyses of racism are powerfully instructive, and Alisa Bierria, in “Structural Racism Within Reason,” offers an account that takes an epistemic turn that advances our understanding of their meaning. More than the idea that personal and structural racism beget each other in continuous looping effects, and more than the view that racism is best understood as an ideology that provides the content to racist attitudes or policy proscriptions, she argues that structural racism structures reason. Drawing on the 2012 case of Marissa Alexander, who unsuccessfully tried to use Florida's Stand Your Ground Law to justify her firing a warning shot at her estranged, abusive husband to protect herself from his murderous threat, Bierra argues that structural racism extends constructed and controlling intentions onto its targets, and, as in the case she discusses, it uses those constructed and fictional intentions to justify their punishment and depriving them of equal justice.Structural analyses of racism are essential additions to the philosophical understanding of racism that have appropriately challenged the centrality of agent-centered accounts. The increasing academic focus on structural explanations, however, along with the current overuse of “systemic racism” in popular discourse, threatens to eclipse the value of accounts of agent-centered accounts. In “Is Racism Essentially Systemic?” Michael Hardimon counsels against this trend. He reminds us that racism is not essentially systemic, and that the dominance of structural explanations could obscure its other forms and even the proper understanding of structural racism. Indeed, structures once constructed might operate independently of human intention, but they are designed, initiated, and often operated by persons.After considering the direction of the current philosophical discussion about the meaning of racism and its immorality, the next set of articles expands the discussion into matters of class, xenophobia, and white nationalism. Lawrence Blum's “Race and Class Together” starts it off. Blum builds class into his analysis of racism and critiques its absence in anti-racist theory. He argues that paying attention to class is required to secure justice for the victims of racism because pursuing justice is often a matter of both. Blum contends that race and class are “normatively distinct axes of injustice” and that, depending on the question, racial injustice needs to be addressed separately. However, there are aspects of racial injustice that can only be dealt with through a class analysis and require class or combined class–race focused policies. Pointing to the fact that many of the members of groups targeted by racism (he considers blacks, Indigenous peoples, and Latinxs) share cross-class interests, which includes shared interests with some whites, which they do not share with more economically privileged members of their own groups, Blum argues that these interests should be addressed through “class-focused policies,” in a manner that will secure justice for disadvantaged racial groups.Shifting from the class-race analysis, José Jorge Mendoza, in “‘Go Back to Where You Came From!’ Racism, Xenophobia, and White Nationalism,” turns our attention toward white nationalism to examine whether it is best understood as an expression of racism or xenophobia. Although he recognizes the importance of xenophobia in white nationalism, Mendoza does not neglect its connections with racist ideas. However, he acknowledges that emphasizing the role of race in condemnations of white nationalism risks overextending the concept of race, i.e., in regards to pan-racial groups, because some members of those groups are racially identified as white. Thus, the charge of racism against white nationalism in such cases may not clearly apply. To deal with those cases, Mendoza cleverly decouples the ideas of “radicalization” and “racial formation,” and he puts forward a new concept, “racial disintegration,” to account for the operation and shifting targets of white nationalism.In the final piece, David H. Kim and I discuss xenophobia and racism in the case of “Anti-Asian Racism.” We move from general theories of racism to inquire about what is at the base of anti-Asian racism. Little is said in contemporary accounts of racism about anti-Asian racism. This is due, in part, to the high level of abstraction in those discussions but also because much of the literature takes anti-blackness as the model of racism. Our piece addresses this lacuna in a manner not beholden to the black-white binary. We discuss how the idea of anti-Asian racism is a conceptual problem in the American context dominated by that binary. We then argue that xenophobia as a form of civic ostracism, and to some extent xenophilia, play a particular role in how anti-Asian racism functions and its immorality.The pieces in this collection resonate with current events and controversies involving racism and illustrate the potential of the debate to relate to and speak those events, not just to the specialized interests of a cloistered academic conversation. Each piece demonstrates the potential for extending vital lines of debate and discussion that touches the raw nerve of the public discussion of racism. (shrink)

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact--especially the essay "The End of Art," which dramatically announced that art ended in the 1960s--this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, _The Philosophical Disenfranchisement of (...) Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

Hegel broke open the deadliest assumptions of Western thought by conceiving being as becoming and consciousness as the social-subjective relation of spirit to itself, yet his white Eurocentric conceits were grotesquely inflated even by the standards of his time. With In a Post-Hegelian Spirit, Gary Dorrien emphasizes both sides of this Hegelian legacy, contending that it takes a great deal of digging and refuting to recover the parts of Hegel that still matter for religious thought. By distilling his signature (...) argument about the role of post-Kantian idealism in modern Christian thought, Dorrien fashions a liberationist form of religious idealism: a post-Hegelian religious philosophy that is simultaneously both Hegelian as it expounds a fluid, holistic, open, intersubjective, ambiguous, tragic, and reconciliatory idea of revelation and post-Hegelian, as it rejects the deep-seated flaws in Hegel's thought. Dorrien mines Kant, Schleiermacher, and Hegel as the foundation of his argument about intellectual intuition and the creative power of subjectivity. After analyzing critiques of Hegel by SA, ren Kierkegaard, Karl Marx, Karl Barth, and Emmanuel Levinas, Dorrien contends that though these monumental figures were penetrating in their assessments, they appear one-sided compared to Hegel. In a Post-Hegelian Spirit further engages with the personal idealist tradition founded by Borden Parker Bowne, the process tradition founded by Alfred North Whitehead, and the daring cultural contributions of Paul Tillich, W.E.B. Du Bois, Martin Luther King, Jr., Rosemary Radford Ruether, David Tracy, Peter Hodgson, Edward Farley, Catherine Keller, and Monica Coleman. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

It is notoriously difficult to spell out the norms of inductive reasoning in a neat set of rules. I explore the idea that explanatory considerations are the key to sorting out the good inductive inferences from the bad. After defending the crucial explanatory virtue of stability, I apply this approach to a range of inductive inferences, puzzles, and principles such as the Raven and Grue problems, and the significance of varied data and random sampling.

abstract: This project began as an interreligious exercise during Lent, a Christian season of increased spiritual practice. What resulted, in part, is this work, a translation and commentary on the Dhammapada (included here: the introduction and translations of three chapters with chapter commentaries). Like the Sermon on the Mount to Christians and the Bhagavad Gita to Hindus, the Dhammapada is considered the heart of Buddhist teaching. Ultimately, this work is a secondary translation or popular interpretation, akin to Thomas Merton's translations (...) of Chuang Tzu and Coleman Bark's translations of Rumi's poetry. And rather than a scholarly translation, this work is a spiritual and devotional interpretation. Among the choices I have made in this translation include gender-inclusive and affirming language, often opting for they/ them pronouns. In chapter intros, I have included resources, brief commentary, and cultural and academic notes that have helped to shape this translation. Such influencers of this translation include Ella Baker, Kendrick Lamar, Bessel van der Kolk, Lama Rod Owens, and others. The next choice I have made, instead of translating the words dukkha and samsara to sorrow/suffering and reincarnation, respectively, I have often translated these terms to harm cycles and generational suffering. My hope is that these terms capture the original meanings while also creating expansive language to hold possibilities for new understandings within Gautama Buddha's teaching. As the translator of this text, it is important to name my twenty-first-century context, influences, and identity as a person raised mostly in the Upper Midwest of the United States and who has lived in Brooklyn, New York, for the past twenty years. This translation is filtered through the lenses of my lived experience, education, social-familial position, economic status, ethnic-cultural and gender identity (as a cis male of Scandinavian-Hutterite descent, who is identified as white ), and multiple other influences. My sources include peace studies, trauma/resilience studies, liberation theology, and more than fifteen years of experience as a spiritual teacher and minister in the Anabaptist tradition (i.e., the historic peace church) of Christianity. It is through these lived experiences that this translation emerges. And, specifically, what has emerged, at least in part, is a trauma aware, liberationist interpretation of the Dhammapada. (shrink)

Have humans been sharing the planet with other intelligent life for millions of years without realizing it? _In Defense of Dolphins_ combines accessible science and philosophy, surveying the latest research on dolphin intelligence and social behavior, to advocate for their ethical treatment. Encourages a reassessment of the human-dolphin relationship, arguing for an end to the inhuman treatment of dolphins Written by an expert philosopher with almost twenty-years of experience studying dolphins Combines up-to-date research supporting the sophisticated cognitive and emotional capacities (...) of dolphins with entertaining first-hand accounts Looks at the serious questions of intelligent life, ethical treatment, and moral obligation Engaging and thought-provoking. (shrink)

We wholeheartedly agree with Schmidt and colleagues’ efforts to promote equity in intensive care unit triage. We also take issue with their characterisation of the New Jersey allocation framework for ICU beds and ventilators, which is modelled after the multi-principle allocation framework we developed early in the pandemic. They characterise it as a two-criterion allocation framework and claim—without evidence—that it will ‘compound disadvantage for black patients’. However, the NJ triage framework—like the model allocation policy we developed—actually contains four allocation criteria: (...) the two criteria that the authors mentioned and two criteria that they failed to mention which we included to promote equity: giving priority to frontline essential workers and giving priority to younger patients. These omissions are problematic both for reasons of factual accuracy and because the two criteria they failed to acknowledge would likely mitigate rather than exacerbate racial disparities during triage. (shrink)

Existing regulation of end-of-life care is flawed. Problems include poorly-designed laws, policies, ethical codes, training, and funding programs, which often are neither effective nor helpful in guiding decision-making. This leads to adverse outcomes for patients, families, health professionals, and the health system as a whole. A key factor contributing to the harms of current regulation is a siloed approach to regulating end-of-life care. Existing approaches to regulation, and research into how that regulation could be improved, have tended to focus on (...) a single regulatory instrument (e.g., just law or just ethical codes). As a result, there has been a failure to capture holistically the various forces that guide end-of-life care. This article proposes a response to address this, identifying “regulatory space” theory as a candidate to provide the much-needed holistic insight into improving regulation of end-of-life care. The article concludes with practical implications of this approach for regulators and researchers. (shrink)

Background Voluntary assisted dying became lawful in Victoria, the first Australian state to permit this practice, in 2019 via the Voluntary Assisted Dying Act 2017 (Vic). While conscientious objection by individual health professionals is protected by the Victorian legislation, objections by institutions are governed by policy. No research has been conducted in Victoria, and very little research conducted internationally, on how institutional objection is experienced by patients seeking assisted dying. Methods 28 semi-structured interviews were conducted with 32 family caregivers and (...) one patient about the experience of 28 patients who sought assisted dying. Participants were interviewed during August-November 2021. Data from the 17 interviews (all with family caregivers) which reported institutional objection were analysed thematically. Results Participants reported institutional objection affecting eligibility assessments, medication access, and taking the medication or having it administered. Institutional objection occurred across health settings and was sometimes communicated obliquely. These objections resulted in delays, transfers, and choices between progressing an assisted dying application and receiving palliative or other care. Participants also reported objections causing adverse emotional experiences and distrust of objecting institutions. Six mediating influences on institutional objections were identified: staff views within objecting institutions; support of external medical practitioners and pharmacists providing assisted dying services; nature of a patient’s illness; progression or state of a patient’s illness; patient’s geographical location; and the capability and assertiveness of a patient and/or caregiver. Conclusions Institutional objection to assisted dying is much-debated yet empirically understudied. This research found that in Victoria, objections were regularly reported by participants and adversely affected access to assisted dying and the wider end-of-life experience for patients and caregivers. This barrier arises in an assisted dying system that is already procedurally challenging, particularly given the limited window patients have to apply. Better regulation may be needed as Victoria’s existing policy approach appears to preference institutional positions over patient’s choice given existing power dynamics. (shrink)

Among other interesting proposals, Juan Comesaña’s _Being Rational and Being Right_ makes a challenging case that one’s evidence can include falsehoods. I explore some ways in which we might have to rethink the roles that evidence can play in inquiry if we accept this claim. It turns out that Comesaña’s position lends itself to the conclusion that while false evidence is possible and not even terribly uncommon, I can be rationally sure that I don’t currently have any and perhaps also (...) that I won’t get any, and (absent certain evidence to the contrary) you are not afflicted with any either. This conclusion might seem too good to be true. I finish by raising a puzzle about one of the main motivations for Comesaña’s view. (shrink)

“Informed consent” is a legal instrument that allows individuals to define their own interests and to protect their bodily privacy. In current medical practice, patients who have consented to surgery are considered to have implied consent to anaesthesia, even though anaesthesia is associated with its own particular set of risks and consequences that are quite separate from those associated with surgery. In addition, anaesthetists often perform interventions that are the only medical treatment received by a patient. Anaesthetists, therefore, should always (...) obtain separate consent for anaesthesia, and should regard the process of consent as a stimulus for active, fluid reciprocal discussion with patients about treatment options. (shrink)

Among Western philosophers, Schopenhauer is one of the few who seeks to clarify the nature of music, and its effects upon us. He claims that music is the most important of all the arts; and he argues that music is a kind of metaphysics that allows us to experience the ultimate reality of the world. In this essay, I evaluate Schopenhauer’s philosophy of music in the context of his overarching philosophy. Then I discuss the relevance of traditional Indian philosophies -- (...) including Advaita Vedanta and Buddhism -- which Schopenhauer recognized as forerunners to his own philosophical system. Here, the discussion of Om is particularly important. Schopenhauer’s discussion of music is insightful. But his insistence on the priority of the will is problematic. I suggest another perspective on willing, ultimate reality and music which follows the classical Indian philosophies that he affirms. (shrink)

Hastings Center Report, Volume 51, Issue 5, Page 42-47, September‐October 2021.

A sympathetic and systematic reconstruction of Sartre's philosophy, explaining its relation to other major philosophical theories. Among the themes elucidated are the relation between reality and our representation of it; the parities between language and consciousness; the relationship between the world as it may be and as we structure it in our interventions as engaged beings; the conceptual interdependence of the self and others; and the connections between factual beliefs and systems of value.--Adapted from book jacket.

Modern and contemporary transhumanism (distinct from posthumanism, see endnote i) is a philosophical movement that seeks the enhancement of the human body and mind though technological means.1 Its...

My account is subject to two important limitations. First, I shall be discussing whether or not Aristotle holds to an essentialistic doctrine with regard to sensible particulars, and shall neglect entirely his views about such things as species, genera, universals, and the like. Secondly, I shall be leaving out of account such chronologically late productions as Metaphysics VI-X and IV. Thus I shall be concentrating on the Categories, the Topics, the Physics, and the De Generatione et Corruptione. I am not (...) convinced that later works show substantial change over the works which I shall be discussing, but the later works do present severe exegetical difficulties which could not be adequately met within the scope of this essay. (shrink)

This work extends theory about entrepreneurship across formal and informal institutional boundaries. While research has identified formal, informal, and renegade economies, we introduce the concept of the controversial economy, defined as the set of legal but illegitimate activities through which actors exploit opportunities. We explain the existence of the controversial economy, its prevalence, and provide examples. We explore how and why entrepreneurs may exploit opportunities in the controversial economy based on individual and opportunity-related attributes. Finally, we identify several theoretical perspectives (...) and research questions as an initial research agenda for the controversial economy. (shrink)

In physics, the temporal dimension has units of infinitesimally brief duration. Given this, how is it possible to perceive things, such as motion, music, and vibrotactile stimulation, that involve extension across many units of time? To address this problem, it is proposed that there is what is termed an “information construct of happening” (ICOH), a simultaneous representation of recent, temporally differentiated perceptual information on the millisecond time scale. The main features of the ICOH are (i) time marking, semantic labeling of (...) all information in the ICOH with ordinal temporal information and distance from what is informationally identified as the present moment, (ii) vector informational features that specify kind, direction, and rate of change for every feature in a percept, and (iii) connectives, information relating vector informational features at adjacent temporal locations in the ICOH. The ICOH integrates products of perceptual processing with recent historical information in sensory memory on the subsecond time scale. Perceptual information about happening in informational sensory memory is encoded in semantic form that preserves connected semantic trails of vector and timing information. The basic properties of the ICOH must be supported by a general and widespread timing mechanism that generates ordinal and interval timing information and it is suggested that state‐dependent networks may suffice for that purpose. Happening, therefore, is perceived at a moment and is constituted by an information structure of connected recent historical information. (shrink)