모리스의 생태적 사유의 출발은 19세기 사회적 상황과 관련 있다. 그의 사유는 당시의 산업혁명의 결과로 나타난 사회적 부조리에 기초한다. 삶의 환경이 악화되고 공장에서 대량 생산되는 생산품은 규격화되고 형편없는 품질의 제품들이었다. 따라서 그는 기계로 생산되는 제품을 부정하고 인간의 솜씨를 통한 창의적인 제작과정으로 생산되는 제품이 아름답다고 주장한다. 이것은 그가 주목했던 도시의 미관과 도시 생활자들의 열악한 생활환경에 대한 우려와 관심에서 비롯되었다. 보건위생의 악화는 도시화의 결과였고 이것은 산업혁명에 의한 산업화의 부작용이기도 했다. 도시화에 따른 보건 위생, 생태적 위기, 근대 건축물의 등장은 모리스로 하여금 자본주의 체계가 야기한 (...) 생태 문제들을 정확하게 깨닫도록 하였다.BR 모리스의 생태적 사유는 사회의 미적 질을 개선하기 위해 사람들에게 사고의 전환을 요청한다. 그의 이러한 생각은 러스킨(John Ruskin)의 자본주의 문명에 대한 비판과 크로포트킨(Pyotr A. Kropotkin)의 공산주의 이념으로부터 영향을 받은 것이다. 그는 동시대의 사상가들로부터 자신의 이론을 구축하는 바탕을 마련하였고 예술로 사회의 변화가 가능하다는 자신의 신념과 생태적 사유를 결합한다. 이 신념은 미적 가치를 개선하고 미적인 삶의 회복을 지향한다. 모리스는 생태 위기 극복을 위한 인문학적 접근에서 생태와 환경 철학적, 미학적 가치를 규명하는데 노력했다. 나아가 자연과 공존하는 지속가능한 사회를 위한 실천 활동도 함께 했다. 그의 대표적인 활동은 런던의 에핑(Epping) 숲의 벌목을 막아내고 숲을 온전한 모습으로 보존하였던 일이다. 이처럼 모리스는 자연보호 정책에 있어서도 통찰력 있는 중요한 인물로 평가되고 있다. (shrink)

ZusammenfassungDie Palliative Sedierung als therapeutische Handlungsoption in anderweitig refraktären Behandlungssituationen wird in der Öffentlichkeit und in Fachkreisen in ihrer klinischen Wertigkeit grundsätzlich akzeptiert und weitgehend positiv konnotiert. Im Widerspruch dazu fallen sowohl die Quantität der empirischen Forschung als auch die Intensität der ethischen und klinischen Diskussion ins Auge, mit der konzeptuelle als auch durchführungsbezogene Aspekte der Palliativen Sedierung beschrieben und kontrovers erörtert werden. Anstatt eines distinkten Behandlungskonzeptes stellt sich hier eher ein komplexes Spektrum verschiedener Vorgehensweisen dar. Die folgende Übersichtsarbeit fasst (...) anhand der aktuellen Literatur zusammen, welche Aspekte im Kontext der Palliativen Sedierung als problematisch bewertet werden. (shrink)

ZusammenfassungKlinische Therapieentscheidungen werden zumeist auf dem Boden einer medizinischen (bzw. ärztlichen) Indikationsstellung und der entsprechenden informierten Zustimmung des Patienten zu der vorgeschlagenen Behandlungsmaßnahme gefällt. Das Recht des Patienten, eine Behandlungsmaßnahme abzulehnen, ist in der juristischen und ethischen Bewertung breit abgesichert. Hingegen ist unklar, welche Rolle ein (positiv geäußerter) Wunsch des Patienten oder gar seiner Angehörigen nach einer bestimmten Behandlung im normativen Entscheidungsprozess spielen sollte, wenn überhaupt. Dieser Beitrag erörtert den Stellenwert des eigenständigen Patientenwunsches aus studienbezogener, klinischer und normativer Sicht. Ein (...) authentisches Fallbeispiel verdeutlicht das Spektrum zugrunde liegender Autonomiekonzepte und das Dilemma divergierender Bewertungsmaßstäbe zwischen Arzt und Patient in der Tumortherapie und Palliativmedizin. Der Beitrag zeigt auf, wie bestehende Konzepte von Autonomie und Indikation genutzt werden können, um einerseits den Behandlungswunsch eines Patienten konkret in den Entscheidungsprozess einzubeziehen, andererseits eine klare Abgrenzung zu einer unreflektierten „wunscherfüllenden Medizin“ aufrecht zu erhalten. (shrink)

ZusammenfassungKlinische Therapieentscheidungen werden zumeist auf dem Boden einer medizinischen (bzw. ärztlichen) Indikationsstellung und der entsprechenden informierten Zustimmung des Patienten zu der vorgeschlagenen Behandlungsmaßnahme gefällt. Das Recht des Patienten, eine Behandlungsmaßnahme abzulehnen, ist in der juristischen und ethischen Bewertung breit abgesichert. Hingegen ist unklar, welche Rolle ein (positiv geäußerter) Wunsch des Patienten oder gar seiner Angehörigen nach einer bestimmten Behandlung im normativen Entscheidungsprozess spielen sollte, wenn überhaupt. Dieser Beitrag erörtert den Stellenwert des eigenständigen Patientenwunsches aus studienbezogener, klinischer und normativer Sicht. Ein (...) authentisches Fallbeispiel verdeutlicht das Spektrum zugrunde liegender Autonomiekonzepte und das Dilemma divergierender Bewertungsmaßstäbe zwischen Arzt und Patient in der Tumortherapie und Palliativmedizin. Der Beitrag zeigt auf, wie bestehende Konzepte von Autonomie und Indikation genutzt werden können, um einerseits den Behandlungswunsch eines Patienten konkret in den Entscheidungsprozess einzubeziehen, andererseits eine klare Abgrenzung zu einer unreflektierten „wunscherfüllenden Medizin“ aufrecht zu erhalten. (shrink)

O lidský svět -- Samomluvy a rozhovory -- Malé řeči sváteční -- Doplňky 1 -- Doplňky 2.

Since Tversky argued that similarity judgments violate the three metric axioms, asymmetrical similarity judgments have been particularly challenging for standard, geometric models of similarity, such as multidimensional scaling. According to Tversky, asymmetrical similarity judgments are driven by differences in salience or extent of knowledge. However, the notion of salience has been difficult to operationalize, especially for perceptual stimuli for which there are no apparent differences in extent of knowledge. To investigate similarity judgments between perceptual stimuli, across three experiments, we collected (...) data where individuals would rate the similarity of a pair of temporally separated color patches. We identified several violations of symmetry in the empirical results, which the conventional multidimensional scaling model cannot readily capture. Pothos et al. proposed a quantum geometric model of similarity to account for Tversky's findings. In the present work, we extended this model to a more general framework that can be fit to similarity judgments. We fitted several variants of quantum and multidimensional scaling models to the behavioral data and concluded in favor of the quantum approach. Without further modifications of the model, the best-fit quantum model additionally predicted violations of the triangle inequality that we observed in the same data. Overall, by offering a different form of geometric representation, the quantum geometric framework of similarity provides a viable alternative to multidimensional scaling for modeling similarity judgments, while still allowing a convenient, spatial illustration of similarity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In MemoriamForest HansenKingsley Blake Price, Professor of Philosophy at The Johns Hopkins University for more than three decades, died in Baltimore on October 27, 2009, at the age of 92. He had long served as an editorial consultant for PMER and participated in numerous PME international symposia. His personal and academic life drew admiration from his colleagues, students, and friends (overlapping classes).Kingsley was born in Salem, Indiana, where his (...) father was a Baptist minister. The family moved from there to California, and Kingsley grew up in Berkeley. He earned his B.A. with highest honors from University of California, Berkeley (1938) and went on there for his M.A. (1942) and Ph.D. (1946). His dissertation was on Locke’s theory of knowledge. Kingsley taught first at the University of Washington, then at the University of Nevada and Sarah Lawrence College (where he became a good friend of Susanne Langer) before becoming an assistant professor of philosophy and education at Hopkins in 1953. He retired from Hopkins in 1986. In the meantime he published books and articles, presented invited papers, and traveled extensively, especially to England, France, Italy, and Greece. In 1973–74 he was president of the Philosophy of Education Society.What is especially remarkable about this is that Kingsley became blind at the age of four, as a result of undiagnosed scarlet fever. For the rest of his life he was dependent upon others to read to him (he was never keen on taped readings, and was a consultant to the Library of Congress concerning recordings for the blind). He also needed others to help him with daily practical tasks. Yet he remained fiercely independent and lived alone until his death. He did not use a seeing-eye dog and only rarely a white cane.Besides his two books, Education and Philosophical Thought (1962) and On [End Page 194] Criticizing Music (1982), Kingsley published numerous articles and reviews in the Journal of Philosophy, the Review of Metaphysics, the Journal of Aesthetics and Art Criticism, Educational Theory, the British Journal of Aesthetics, the Philosophy of Music Education Review, and others. His publications were mostly on topics of art (especially music) and education. He had long been working on a manuscript of reflections upon the alleged emotional qualities of music. Kingsley criticized other theories as having inconsistent of otherwise insupportable claims. Some of his former students hope to bring this work to fruition as a book.Kingsley took piano lessons as a youngster and, typically, excelled. As a teenager he placed second in a Major Bowes Amateur Hour radio competition and considered a career as a concert pianist. When one former student asked why he had not pursued that, Kingsley replied that philosophy was more in need of an excellent philosopher than music was of an only good pianist.A February memorial for Kingsley was postponed because of a blizzard in the Baltimore area. On April 25, 2010, former graduate students, readers, colleagues, and friends—some from as far away as California, Wyoming, Hawaii, and Florida—gathered in Baltimore to honor Kingsley and share their remembrances. Besides their expressions of admiration for his philosophical acumen and his rigorous teaching, people noted Kingsley’s high moral principles, his wide range of interests in the humanities, his commitment to efforts promoting world peace, and his connoisseurship in gardening and antique furniture. Many graduate students rode with him on his tandem bicycle, and later invited him to give papers at their colleges. He was a meticulous dresser and was proud of his bow ties, his four-in-hands, and his beret. Besides such personal testimonies by those present, letters by family members, friends abroad, former graduate students, and other friends were read. Photographs were on display, and recordings of some of Kingsley’s favorites by Bach, Schubert, and Vaughan Williams were played.Above all, Kingsley was that rare professor who maintained friendship with many of his students. He is survived by an older brother, two sisters, and numerous nephews, nieces, and their offspring. And by his many friends for whom his life has made a lasting impact. [End Page 195]Forest HansenEaston, Maryland Professor Emeritus, Lake Forest College forestval2... (shrink)

Viruses are major drivers of global biogeochemistry and the etiological agents of many diseases. They are also the winners in the game of life: there are more viruses on the planet than cellular organisms and they encode most of the genetic diversity on the planet. In fact, it is reasonable to view life as a viral incubator. Nevertheless, most ecological and evolutionary theories were developed, and continue to be developed, without considering the virosphere. This means these theories need to be (...) to reinterpreted in light of viral knowledge or we need to develop new theory from the viral point-of-view. Here we briefly introduce our viral planet and then address a major outstanding question in biology: why is most of life viral? A key insight is that during an infection cycle the original virus is completely broken down and only the associated information is passed on to the next generation. This is different for cellular organisms, which must pass on some physical part of themselves from generation to generation. Based on this premise, it is proposed that the thermodynamic consequences of physical information (e.g., Landauer’s principle) are observed in natural viral populations. This link between physical and genetic information is then used to develop the Viral Information Hypothesis, which states that genetic information replicates itself to the detriment of system energy efficiency (i.e., is viral in nature). Finally, we show how viral information can be tested, and illustrate how this novel view can explain existing ecological and evolutionary theories from more fundamental principles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can (...) seem to have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

Background:Clinical ethics committees have been broadly implemented in university hospitals, general hospitals and nursing homes. To ensure the quality of ethics consultations, evaluation should be...

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can (...) seem to have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

Jurgen Habermas's critical communications theory of society has excited widespread interest in recent years. The essays in this book explore the research implications of Habermas's theory for the analysis of modern problems of public life.

Geographical features and cultural traits influence the character of big-mountain tourism in Alaska. This research considers the intersectionality of wilderness and frontier concepts on tourism culture, examines guides’ and clients’ motivations for participation, and relates these influences to the larger phenomena of tourism generally and nature tourism specifically. The findings show that Alaska’s big-mountain tourism is globalized in its political and economic scope. Guides imagine themselves as pioneers on a last frontier of mountain pursuits, notions that relate well to images (...) depicted of the region in literature and promoted by the tourism industry. Clients, on the other hand, come to Alaska because of its exceptional geography and unique mountain sporting culture, but are not as enamored with the mythos of the frontier. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Dialogue:The Principle of Civility in Academic DiscourseForest HansenSeveral months ago New York Times columnist David Brooks addressed the lack of civility in recent public discourse. "So... you get narcissists who believe they or members of their party possess direct access to the truth.... You get people who prefer monologues to dialogue.... You get people who... loathe their political opponents."1One might think that by contrast academia, and especially academic (...) publications, would provide a bastion of civil discourse. Alas, even academia has been infiltrated. At least it so appears to me when I read some of what has been recently published in the name of the philosophy of music education.I find that disheartening.However one defines "philosophy," it minimally entails raising questions whose answers are reasonably debatable. The key word here is "reasonably." Those who are committed to philosophical activity criticize positions they oppose by formulating arguments, giving examples, calling on accepted facts, clarifying the meaning of terms, and bringing to bear the principles of formal and informal logic. And thus they open themselves to counter-criticism of the same [End Page 198] sort. Nowhere in this enterprise is there need—or room—for invective, sarcasm, name-calling, ad hominems, or any other kind of personal abuse. One might call this The Principle of Civility in Academic Discourse.Philosophy differs in this respect from polemics. In one of its senses "polemics" means "the art or practice of disputation or controversy," and so seems a close cousin to philosophy. However, while "philosophy" traces its etymological roots to "love" and "wisdom," "polemics" is derived from "war." Polemics is a kind of verbal warfare. Typically polemicists are willing to use any tool at their disposal—even underhanded ones—to "win" the war of ideas. Polemics in this usual sense dispenses with objectivity and fairness (though it may make such a pretense). In fact, people who mount personal attacks thereby reveal their lack of philosophical tools and diminish their argument.Distinguishing philosophy from polemics does not mean that all philosophical claims are equal. Some positions are stronger than others, some weaker. Some can be dismissed relatively out of hand if they are illogical or do not square with normal experience. But even when positions are inadequate, the persons who advance the positions deserve to be treated with courtesy, respect, and collegiality.Typically, people trained in philosophy assimilate this principle as a matter of course. They have learned that over the centuries great minds have disagreed about every philosophical issue—whether the make-up of ultimate reality, the nature and sources of knowledge, the existence of god, the justification of morality. So too with what the nature of music is, what music should be taught and how, what is the purpose of music education.No one has a corner on the answers to such questions. The floor should always be open to debate—to consideration of new proposals and reconsideration of old ones. In disciplines where some matters are more or less settled (as in natural science and mathematics), such arguments disappear and new quests hope to find new settled answers. But in philosophy, more fundamentally than in any other traditional academic discipline, the discussion, the reasoned argumentation, is ongoing.Many years ago Douglas Morgan, in his essay "Must Art Tell the Truth"2 eloquently captured this spirit of philosophy:Philosophy is itself to be conceived as an invitational, dialectical activity rather than as any system of dicta. A philosopher can be thought of as [one] who, far from commanding assent with any thunderous barrage of argumentative artillery, invites you to think [about] the world or some aspect of it in a somewhat different way. "Come in," [the philosopher] says cordially, "and welcome. Sit down. Let me mix you an idea. Sip this thought, and tell me how your own experience looks. If you should find my way of construing our [End Page 199] world unappetizing or unpromising, pray show me your way. Let us once again in the good old Greek way, dia-lego, talk it through together."Finally, The Principle of Civility in Academic Discourse ought to be conveyed in our classrooms, as we foster new generations in... (shrink)

Both the physiological and the pathological morphogenetic processes that we can meet in embryogenesis, neogenesis and degenerative dysgenesis present common features: they are ruled by three different kinds of mechanisms, one related to cell migration, the second to cell differentiation and the third to cell proliferation. We deal here with an application to the cambial growth which essentially involves the third type of mechanism.Woody plants produce secondary tissue (secondary xylem and phloem) from a meristematic tissue called vascular cambium, responsible for (...) the radial growth of a tree. This paper focuses on the formation of secondary xylem, considered in two dimensions in a cross-section framework. A new discrete modelling approach is used, based on the cellular scale, in order to attain a more accurate understanding of how the elementary microscopic behaviour of each cell takes part in the macroscopic morphogenesis. The mathematical model essentially uses an occurrence method simulating the main features of radial growth with simple geometric rules, such as Thom's division rule (Thom,1972)to account for the cell proliferation. The study applies to concrete instances in which the changes made in the geometrical cellular patterns of the vascular cambium clearly affect the shape of the tree, as in Pinus radiata (D. Don.). (shrink)

: This paper articulates a view of the relation between cognition and being in Peirce's thought, especially derived from his early papers of 1868–69. Based on the rejection of intuitions, I argue that Peirce realized an isomorphic relation between cognition and being that functions as a semiotic foundation. I consider several challenges to these notions in the literature, including doubts about pansemioticism, foundationalism, and realism. In the end, I suggest that the semiotic foundation be thought of as a kind of (...) transcendental, in several senses of that term. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Bennett ReimerForest HansenIn late afternoon on January 9, 2014, family members, colleagues, former students, and other friends met at Northwestern University to reflect upon and honor the life of Bennett Reimer, who had died from cancer on November 18, 2013 at the age of 81. The printed program fittingly called it a “Memorial Celebration,” because that is what it was. Fine wine and savory hors d’oeuvres were (...) served, a woodwind quartet of Bienen School of Music graduate students played Reimer favorites, and Beth Hebert, Bennett’s life partner of 27 years, greeted every person as they entered the hall. Reimer would have approved of the exuberant tastefulness of the event. He would probably have blushed and demurred, however, when in the formal part of the program his colleagues, daughters, and former students praised him in recalling specific occasions of his mentoring, inspiring, modeling, guiding, collaborating, and originating. (In his writing Reimer loved such extensive discriminatory lists.) Included among the expressions of respect and affection were these words by Estelle Jorgensen, who could not be present, read by Randall Allsup: [End Page 101]We have lost a wonderful person who lived life richly and made an outstanding contribution to the field of music education and beyond. In honor of his work as a philosopher of music education, among the many facets of his professional life, the Philosophy of Music Education Review will have a special issue devoted to the ideas that he left us, contributed by prominent music educational leaders and writers. Such moments of professional loss leave a rent in our midst that can never quite be patched. Along with our sorrow is our memory of the joy, idealism, and hope that characterized his lived life. We cling collectively to the memories of the blessings he brought us in simply being Bennett.Reimer was born on June 19, 1932 in Brooklyn, where he grew up. He earned a B.S. in music education in 1954 at SUNY at Fredonia and an M.S. (1955) and Ed.D. (1963) at the University of Illinois, Urbana-Champaign. His teaching career started at the Richmond Professional Institute of the College of William and Mary (1955–57) and continued at Madison College (Harrisburg VA) (1958–1960) and the University of Illinois (1960–65). At Case Western Reserve University (1965–1978), he became chair of the Music Education Department and holder of the Kulas Endowed Chair in Music. Then at Northwestern University he held the John W. Beattie Chair in Music from 1978 until his retirement in 1997. He chaired the Music Education Department there, directed the doctoral program in music education, and founded and directed the Center for the Study of Education and the Musical Experience—a weekly research forum for graduate students and faculty. Although Reimer had started out as an instructor in clarinet and oboe, musical theory, conducting, and music appreciation, he became a scholar, teacher, and lecturer in the new field of philosophy of music education with a worldwide following and reputation.Reimer was most noted for his seminal A Philosophy of Music Education (1970), which can fittingly be described as the founding document of the discipline. Typically he made revisions for the second edition in 1989 and more radical ones for the third edition in 2003, retitled as A Philosophy of Music Education: Advancing the Vision. This work has been translated into French, Japanese, and Chinese, and, forthcoming, Greek. He was associated with PMER and the International Society for Philosophy of Music Education (ISPME) from their beginnings in 1990.Besides his seminal works, Reimer wrote or co-wrote another twenty books and more than 150 articles, reviews, and book chapters. A few of his book titles indicate the range of his thought, from his early and widely used textbooks The Experience of Music (1971) for college students and Silver Burdett Music for grades 1–8 to his more recent Performing with Understanding: The Challenge of the National Standards for Musical Education (2000), World Musics and Music [End Page 102] Education: Facing the Issues (2002), and Seeking the Significance of Music Education (2009). He was an active participant and leader in a host of other music... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Dialogue:The Principle of Civility in Academic DiscourseForest HansenSeveral months ago New York Times columnist David Brooks addressed the lack of civility in recent public discourse. "So... you get narcissists who believe they or members of their party possess direct access to the truth.... You get people who prefer monologues to dialogue.... You get people who... loathe their political opponents."1One might think that by contrast academia, and especially academic (...) publications, would provide a bastion of civil discourse. Alas, even academia has been infiltrated. At least it so appears to me when I read some of what has been recently published in the name of the philosophy of music education.I find that disheartening.However one defines "philosophy," it minimally entails raising questions whose answers are reasonably debatable. The key word here is "reasonably." Those who are committed to philosophical activity criticize positions they oppose by formulating arguments, giving examples, calling on accepted facts, clarifying the meaning of terms, and bringing to bear the principles of formal and informal logic. And thus they open themselves to counter-criticism of the same [End Page 198] sort. Nowhere in this enterprise is there need—or room—for invective, sarcasm, name-calling, ad hominems, or any other kind of personal abuse. One might call this The Principle of Civility in Academic Discourse.Philosophy differs in this respect from polemics. In one of its senses "polemics" means "the art or practice of disputation or controversy," and so seems a close cousin to philosophy. However, while "philosophy" traces its etymological roots to "love" and "wisdom," "polemics" is derived from "war." Polemics is a kind of verbal warfare. Typically polemicists are willing to use any tool at their disposal—even underhanded ones—to "win" the war of ideas. Polemics in this usual sense dispenses with objectivity and fairness (though it may make such a pretense). In fact, people who mount personal attacks thereby reveal their lack of philosophical tools and diminish their argument.Distinguishing philosophy from polemics does not mean that all philosophical claims are equal. Some positions are stronger than others, some weaker. Some can be dismissed relatively out of hand if they are illogical or do not square with normal experience. But even when positions are inadequate, the persons who advance the positions deserve to be treated with courtesy, respect, and collegiality.Typically, people trained in philosophy assimilate this principle as a matter of course. They have learned that over the centuries great minds have disagreed about every philosophical issue—whether the make-up of ultimate reality, the nature and sources of knowledge, the existence of god, the justification of morality. So too with what the nature of music is, what music should be taught and how, what is the purpose of music education.No one has a corner on the answers to such questions. The floor should always be open to debate—to consideration of new proposals and reconsideration of old ones. In disciplines where some matters are more or less settled (as in natural science and mathematics), such arguments disappear and new quests hope to find new settled answers. But in philosophy, more fundamentally than in any other traditional academic discipline, the discussion, the reasoned argumentation, is ongoing.Many years ago Douglas Morgan, in his essay "Must Art Tell the Truth"2 eloquently captured this spirit of philosophy:Philosophy is itself to be conceived as an invitational, dialectical activity rather than as any system of dicta. A philosopher can be thought of as [one] who, far from commanding assent with any thunderous barrage of argumentative artillery, invites you to think [about] the world or some aspect of it in a somewhat different way. "Come in," [the philosopher] says cordially, "and welcome. Sit down. Let me mix you an idea. Sip this thought, and tell me how your own experience looks. If you should find my way of construing our [End Page 199] world unappetizing or unpromising, pray show me your way. Let us once again in the good old Greek way, dia-lego, talk it through together."Finally, The Principle of Civility in Academic Discourse ought to be conveyed in our classrooms, as we foster new generations in... (shrink)