Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

This paper describes the first three-year experience of the Consortium Ethics Program (CEP-1) of the University of Pittsburgh Center for Medical Ethics, and also outlines plans for the second three-year phase (CEP-2) of this experiment in continuing ethics education. In existence since 1990, the CEP has the primary goal of creating a cost-effective, permanent ethics resource network, by utilizing the educational resources of a university bioethics center and the practical expertise of a regional hospital council. The CEP's conception and specific (...) components stem from recognition of the need to make each hospital a major focus of educational efforts, and to provide academic support for the in-house activities of the representatives from each institution. (shrink)

'Ugly as sin', 'ugly duckling', 'rear its ugly head'. The word 'ugly' is used freely, yet it is a loaded term: from the simply plain and unsightly to the repulsive and even offensive, definitions slide all over the place. Hovering around 'feared and dreaded', ugliness both repels and fascinates. But the concept of ugliness has a lineage that has long haunted our cultural imagination. Gretchen E. Henderson explores perceptions of ugliness through history, from ancient Roman feasts to medieval grotesque (...) gargoyles, from Mary Shelley's monster cobbled from corpses to the Nazi Exhibition of Degenerate Art. Covering literature, art, music and even Uglydolls, Henderson reveals how ugliness has long posed a challenge to aesthetics and taste. Henderson digs into the muck of ugliness, moving beyond the traditional philosophic argument or mere opposition to beauty, and emerges with more than a selection of fascinating tidbits. Following ugly bodies and dismantling ugly senses across periods and continents, [this book] draws on a wealth of fields to cross cultures and times, delineating the changing map of ugliness as it charges the public imagination. Illustrated with a range of artefacts, this book offers a refreshing perspective that moves beyond the surface to ask what 'ugly' truly is, even as its meaning continues to shift. (shrink)

This is the first complete, one-volume English translation of the ancient Chinese text Xunzi, one of the most extensive, sophisticated, and elegant works in the tradition of Confucian thought. Through essays, poetry, dialogues, and anecdotes, the Xunzi articulates a Confucian perspective on ethics, politics, warfare, language, psychology, human nature, ritual, and music, among other topics. Aimed at general readers and students of Chinese thought, Eric Hutton’s translation makes the full text of this important work more accessible in English than ever (...) before. Named for its purported author, the Xunzi has long been neglected compared to works such as the Analects of Confucius and the Mencius. Yet interest in the Xunzi has grown in recent decades, and the text presents a much more systematic vision of the Confucian ideal than the fragmented sayings of Confucius and Mencius. In one famous, explicit contrast to them, the Xunzi argues that human nature is bad. However, it also allows that people can become good through rituals and institutions established by earlier sages. Indeed, the main purpose of the Xunzi is to urge people to become as good as possible, both for their own sakes and for the sake of peace and order in the world. In this edition, key terms are consistently translated to aid understanding and line numbers are provided for easy reference. Other features include a concise introduction, a timeline of early Chinese history, a list of important names and terms, cross-references, brief explanatory notes, a bibliography, and an index. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

An engaging argument about what experimental music can tell us about being human. -/- In Experimenting the Human, G Douglas Barrett argues that experimental music speaks to the contemporary posthuman, a condition in which science and technology decenter human agency amid the uneven temporality of postwar global capitalism. Time moves forward for some during this period, while it seems to stand still or even move backward for others. Some say we’re already posthuman, while others endure the extended consequences of never (...) having been considered fully human in the first place. Experimental music reflects on this state, Barrett contends, through its interdisciplinary involvements in postwar science, technology, and art movements. -/- Rather than pursuing the human’s beyond, experimental music addresses the social and technological conditions that support such a pursuit. Barrett locates this tendency of experimentalism throughout its historical entanglements with cybernetics, and in his intimate analysis of Alvin Lucier’s neurofeedback music, Pamela Z’s BodySynth performances, Nam June Paik’s musical robotics, Pauline Oliveros’s experiments with radio astronomy, and work by Laetitia Sonami, Yasunao Tone, and Jerry Hunt. Through a unique meeting of music studies, media theory, and art history, Experimenting the Human provides fresh insights into what it means to be human. (shrink)

In numerous articles and reviews, Gabriel Marcel advanced stimulating and still relevant ideas on the complex relationship between the listener and the musical work. He made a fundamental distinction between hearing and understanding music. He analyzed in some detail the notions of musical idea and musical presence. The purpose of this paper is to present Marcel’s original views on the chief elements of our experience of classical music. It also seeks to highlight some of the benefits of active music making (...) for our life today. (shrink)

The Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der Töne. It reflects the dramatic progress of mathematical music theory and its operationalization by information technology since the publication of Geometrie der Töne in 1990. The conceptual basis has been vastly generalized to topos-theoretic foundations, including a corresponding thoroughly geometric musical logic. The theoretical models and results now include topologies for rhythm, melody, and harmony, as well as a classification theory of musical (...) objects that comprises the topos-theoretic concept framework. Classification also implies techniques of algebraic moduli theory. The classical models of modulation and counterpoint have been extended to exotic scales and counterpoint interval dichotomies. The probably most exciting new field of research deals with musical performance and its implementation on advanced object-oriented software environments. This subject not only uses extensively the existing mathematical music theory, it also opens the language to differential equations and tools of differential geometry, such as Lie derivatives. Mathematical performance theory is the key to inverse performance theory, an advanced new research field which deals with the calculation of varieties of parameters which give rise to a determined performance. This field uses techniques of algebraic geometry and statistics, approaches which have already produced significant results in the understanding of highest-ranked human performances. The book's formal language and models are currently being used by leading researchers in Europe and Northern America and have become a foundation of music software design. This is also testified by the book's nineteen collaborators and the included CD-ROM containing software and music examples. (shrink)

The version given above is from Murray's Oxford text: the recent Budé text of Chapouthier concurs in accepting Kirchhoff's transposition. Other editors, such as Paley and Weil, have also given their approval to this proposed alteration, though Biehl regards it as superfluous. Most commentators are agreed, however, in considering that the choice must lie between the traditional line-order and Kirchhoff's transposition: few regard the papyrus line-order as either probable or even possible.

I defend in this paper the thesis that there is a complex relation between minimalist musical works and the metaphysics of time, involving ontological, epistemological and axiological issues. This relation is explained by means of three sub-theses. The first one is that minimalist musical works literally exemplify –in Goodman’s sense–the properties ascribed to time by the metaphysical static view: 1) minimalist works intrinsically possess those properties by being composed according to the technique of minimal repetition; 2) they extrinsically refer to (...) those properties in virtue of pragmatic processes of accommodation of disagreements on what is taken to be common ground in a particular musical context. The second sub-thesis is that, in exemplifying those properties, minimalist musical works are valuable from two perspectives: a formalist one, according to which minimalist works purify the concept of what a musical work is; and a cognitive one, insofar they allow us to obtain phenomenal knowledge of what it is like to experience time as the static view conceives it. The third sub-thesis is that each particular minimalist musical work is valuable insofar it achieves either the formalist or the cognitive goals in an original way. (shrink)

_Winner of the Fabian Dorsch ESA Essay Prize._ Julian Dodd defends the view that, in musical work-performance practice, interpretive authenticity is a more fundamental value than score compliance authenticity. According to him, compliance with a work’s score can be sacrificed in cases where it conflicts with interpretative authenticity. Stephen Davies and Andrew Kania reject this view, arguing that, if a performer intentionally departs from a work’s score, she is not properly instantiating that work and hence not producing an authentic performance (...) of it. I argue that this objection fails. A detailed analysis of work-performance practice reveals, first, that the normative scope of interpretive authenticity encompasses the practice of composing musical versions and that, second, when performers sacrifice score compliance to maximize interpretive authenticity, they are performing the target work by means of performing a version of it. By means of the nested types theory, I then show how performances produced in this way can be properly formed instances, and hence authentic performances, of their target work. (shrink)

It may seem odd to review a New York social club's yearbook, with its list of members’ addresses and series of committee reports. But such books sometimes contain material of more general interest. The latest one from the Century Association, for example, devotes 250 of its 685 pages to “Century Memorials”—that is, biographical sketches of recently deceased members, written by other members. Among the well-known figures taken up in these eighty-three sketches are the artists Richard Anuszkiewicz and Robert Motherwell; the (...) architects Henry N. Cobb and Charles A. Platt; the newspaper editors Harold Evans and Whitelaw Reid; the historians Henry F. Graff and William McFeely; the translator and literary scholar Donald Keene; the collector of literary and musical manuscripts Frederick Koch; the popular writer on Russian history Robert K. Massie; the clergyman James Parks Morton; the financier Felix G. Rohatyn; the lawyers Whitney North Seymour Jr. and Isaac N. Phelps Stokes; the literary editor Elisabeth Sifton; the university president Michael Sovern; the museum director Evan H. Turner; and the broadcast journalist Sander Vanocur. The sketches are generally well written and often richly evocative: the writers include Louis Begley, Kenneth T. Jackson, D. T. Max, and Honor Moore.The long shelf of Century volumes like this one clearly constitutes a valuable contribution to prosopographical literature. And the Century is not the only institution with such a tradition (other examples are the British Academy and the American Philosophical Society); but their publications are a frequently overlooked source, one not always available in research libraries. Unfortunately, it is also a source that seems to be diminishing: the American Antiquarian Society and the John Simon Guggenheim Memorial Foundation are examples of organizations, each with a history of providing biographical information, that are no longer doing so. Of course, the great previous runs of the former's Proceedings and the latter's Reports remain (one hopes) on the shelves for those who know to look for them. A step in the opposite direction has recently been taken by the Grolier Club, which has not had such a tradition (except for two biographical volumes in 1959 and 2000): its Gazette now includes a section of memorials in each issue. This is a welcome move, but one has to regret that so little scholarly use is made of this whole body of biographical detail and reminiscence. (shrink)

I. We know fairly well how the City Dionysia at Athens was celebrated in classical times. But although the numerous dramatic festivals of the Hellenistic period were in many respects modelled on the Athenian Dionysia, it is not clear how the performances at these festivals were organized. The difficulty arises from the fact that apart from a few great centres which may have had their own theatre production, playwrights, actors, etc., the majority of cities depended on the travelling of Dionysos’.1 (...) It seems that the of Dionysiac artists were formed early in the third century. Three major Dionysiac associations—the Athenian, the Isthmian and Nemean, and the Ionian and Hellespontian—operated in Greece, Asia Minor, and the islands in Hellenistic times. The question is how these associations functioned. Were they theatrical companies as well as professional guilds? Did they undertake the organization of musical and dramatic performances at various festivals? Was there a division of territories between the and were certain festivals dominated by certain guilds? (shrink)

The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of Harmony, the principle (...) of Chaos-Form movement, is preserved. Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics. The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world. (shrink)

This article is devoted to examining the ontological foundations of computer-generated music scores. Specifically, we focus on the categorial question, i.e., the inquiry that aims to determine the kind of ontological category that musical works belong to. This task involves considerations concerning the existence and persistence conditions for musical works, and it has consequences for the determination of what it is to compose a musical work. Our contention is that not all the possible answers to the categorial question in the (...) ontology of music are equally compatible with the hypothesis that creative music systems compose musical works. The thesis defended here is that musical Platonism is the proposal that best accommodates this hypothesis. We claim that musical Platonism is the answer to the categorial question that offers the most straightforward explanation for the possibility of considering creative music systems as genuinely composing musical works. Moreover, we uphold that the notion of creative-evaluative discovery as the characterization of what it is to compose a musical work entailed by Platonism is the simplest explanation of the process developed by a computer in producing musical works. For this purpose, we will take as empirical data the features of the Iamus computer, a system that produces musical works autonomously using evolutionary algorithms and following an evo-devo strategy. The works generated by this computer have been recorded by the London Symphony Orchestra and other renowned international soloists, and its impact has been notable in the literature (Ball, 2012; Coghlan, 2012; Berger, 2013). (shrink)

As has been often descried, the well-being and integration of refugees, asylum seekers and immigrants mutually influence each other. Therefore, OMEGA Health Care Center is carrying through programs which at the same time further integration on the level of individuals and help prevent or address psychological, social and medical problems. Women and minors are the main target groups of these programs. Aside form giving adolescents concrete support—e.g. in their schoolwork—most of our youth programs focus on active work toward integration. This (...) we understand as supporting real contact between individuals of different cultures. Currently, OMEGA is conducting outreach activities in refugee shelters and schools. In afternoon activities minors have the opportunity to join a music group, to participate in a school support program and to attend computer courses. One goal of our work it to include marginalized youth in all these groups and actively support their social integration in the mainstream society. Finally, the results of an evaluation of our music group and possible interventions for group leaders are discussed. (shrink)

O presente artigo visa problematizar a concepção de música proposta pelo filósofo Friedrich Schelling em sua obra ‘Filosofia da Arte’, na qual essa forma artística é concebida enquanto uma potência real do Absoluto. Desse modo, pretende-se apontar para o caráter inovador e peculiar da concepção schelliniana em contraste com a noção romântica de música absoluta, assim como situá-la dentro do panorama geral do sistema de identidades desenvolvido pelo autor. -/- This article aims to discuss the musical conception proposed by German (...) philosopher Friedrich Schelling in his work ‘Philosophy of Art’, which conceives music as a real potency (Potenz) of Absolute. Therefore, we intent to underlie the peculiar and original aspects of Schelling’s ideas as they are demonstrated by his philosophical system of identities, in contrast with the romantic notion of absolute music. (shrink)