The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sŏ Kyŏngdŏk (1489-1546), an influential Confucian scholar from the early Chosŏn period (1392-1910). A native of Songdo (also known as Kaesŏng) in present-day North Korea, Sŏ has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also called (...) Master Hwadam, Sŏ embodied an archetype of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today (a notable exception in contemporary studies on Chosŏn Neo-Confucianism), Sŏ and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosŏn. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sŏ and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations (munjip) in the intellectual history of Chosŏn and the complex process of the making of Confucian masters in Korea. Sŏ's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosŏn Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese (hanmun) or East Asian intellectual history. (shrink)

"The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sæo Kyæongdæok, an influential Confucian scholar from the early Chosæon period. A native of Songdo in present-day North Korea, Sæo has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also called Master Hwadam, Sæo embodied an (...) archetype of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today, Sæo and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosæon. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sæo and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations in the intellectual history of Chosæon and the complex process of the making of Confucian masters in Korea. Sæo's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosæon Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese or East Asian intellectual history"--. (shrink)

The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sŏ Kyŏngdŏk (1489-1546), an influential Confucian scholar from the early Chosŏn period (1392-1910). A native of Songdo (also known as Kaesŏng) in present-day North Korea, Sŏ has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also called (...) Master Hwadam, Sŏ embodied an archetype of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today (a notable exception in contemporary studies on Chosŏn Neo-Confucianism), Sŏ and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosŏn. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sŏ and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations (munjip) in the intellectual history of Chosŏn and the complex process of the making of Confucian masters in Korea. Sŏ's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosŏn Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese (hanmun) or East Asian intellectual history. (shrink)

숲에 관한 관심이 뜨겁게 달아오르고 있다. 이는 ‘생태적 삶의 추구’가 일종의 시대정신이 된 상황과 밀접하게 연관되어 있다. 그런데 이러한 현상이 명실상부한 생태적 삶으로 이어지고 있다고 보기 어렵다. 본고는 이를 비판적으로 고찰하고, 더 나아가 숲에 관한 생태학적 인식과 실제 삶이 괴리되지 않도록 하는 데 일조하려는 시도의 일환이다.BR 이를 위해서 논자는 ‘뵈메(G. Böhme)가 말하는 생태적 자연미학’의 관점에서 숲을 조망하고자 한다. 뵈메가 강조하는 영국식 정원과 조경술은 숲에 관한 생태학적 연구와 보통 사람들이 일상에서 접하는 숲 체험이 괴리되지 않고 조화를 이루는 데로 나아가는 실마리를 제공한다. (...) 특히 조경술의 실천과 지침이 그렇다.BR 본고는 그러한 실마리를 바탕으로 특정한 숲(화담숲)에 대한 생태미학적 조망을 시도한다. 이를 통해서 조경술이 시사하는 ‘가로지름의 실천’에 기초한 숲의 생태미학적 조망은 보통 사람들이 일상에서 자연/인공의 이분법의 덫을 넘어 ‘자연과, 숲과 억지스럽게 않게 어우러지는 삶’의 가능성을 열어준다는 사실이 드러난다. 요컨대 숲은 평범한 사람이 자신의 일상과 괴리되지 않는 방식으로, 즉 몸으로 느끼고 감지하는 감성적 방식으로, 자연적인 것/인공적인 것의 이분법에서 벗어나서, 자연의 소리에 귀를 기울이게 해주고, 자연의 사고에 다가가게끔 해주는 특별한 체험의 개방된 공간이라는 사실이 숲의 생태미학적 조망을 통해서 개시된다는 점이 논구된다. (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)

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.

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)

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)

Aesthetic experience as a determining factor in music appreciation has lost salience in recent years, especially in philosophy of music education. Markand Thakar, music director of the Baltimore Chamber Orchestra and Duluth Superior Symphony Orchestra and co-director of graduate conducting at Peabody Conservatory, has written a book subtitled An Investigation into Musical Beauty. In a series of dialogues between a talented music student and a wise professor, he equates beauty with the aesthetic experience and cites this as the hallmark of (...) masterpieces in Western music of the seventeenth to twentieth centuries. The author reviews Thakar’s book, notes similarities and differences with Bennett Reimer’s philosophy, and defends the theory against the mandates of praxialism. (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)

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)

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)

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)

Morphogenesis is a key process in developmental biology. An important issue is the understanding of the generation of shape and cellular organisation in tissues. Despite of their great diversity, morphogenetic processes share common features. This work is an attempt to describe this diversity using the same formalism based on a cellular description. Tissue is seen as a multi-cellular system whose behaviour is the result of all constitutive cells dynamics. Morphogenesis is then considered as a spatiotemporal organization of cells activities. We (...) show how this formalism relies on Reaction–Diffusion/Positional Information approach and how it permits to generalize its modelling possibilities. Three quite different applications for concrete morphogenetic processes are presented. The first one is a model for epithelial invagination, the second is a model of cellular differentiation by local cell–cell signalling. The last example is the secondary radial growth of conifer trees. From the mathematical point of view, different modelling tools are used according to the specificity of each process. (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:Philosophy of Music Education Review 11.2 (2003) 200-202 [Access article in PDF] Bennett Reimer, A Philosophy of Music Education:advancing the Vision, Third Edition. (upper Saddle River, New Jersey: Prentice In his third and greatly revised edition of A Philosophy of Music Education, Bennett Reimer fulfills the promise of his subtitle, Advancing the Vision. While incorporating essentials and a few passages of his previous edition, its thrust is to present (...) and argue for a new theory of musical intelligences. Here Reimer is pushing into a theoretical frontier, one that he sees as crucially relevant to the music education concerns that have so long been at the heart of his thinking.So although this is a new edition, third time around, of a classic in the field of philosophy of music education by one of its "elder statespersons," it is in many ways a new book. Reimer has never been a thinker to rest on his past achievements. He demonstrates here his ongoing curiosity about issues he has been wrestling with for decades. He engages in debate (as sympathetically as possible) with others who are also forging new ideas. Interacting with their ideas and his own former ones, he generates new ways of thinking about what is involved in musical composing, performing, listening, and theorizing. He uses all this as ground for challenging students and teachers of music to reflect on their own philosophical or pre-philosophical assumptions, their learning and teaching practices, and their [End Page 200] opportunities to make music even more meaningful in their lives and the lives of others. All this is informed by his evident (without his ever making an overt claim for it) love of music, love of philosophizing about music and music education, and his love of teaching about music. I will comment here on just some of the many notable features of the new edition.Reimer announces his approach as synergistic—that is, looking for areas of agreement beneath the surface of what seem to be radically opposing positions (between absolutism and relativism concerning musical value, for instance). What is especially noteworthy is that he demonstrates this moderation throughout his book. This does not lead to his being uncritical; in fact, he is highly critical of some stances and in Chapter 1 makes a devastating attack on postmodernism in music education. But generally he seeks to find what is worthwhile in the views of others and what he can assimilate from their thinking.While valuing musical performance and especially the successful record on teaching performance in American schools, Reimer believes that music education should have much wider concerns: to provide the groundwork for students interested in composing, conducting, improvising, arranging, reviewing, theorizing, and above all listening. Listening, he persuasively argues, is the core skill for all the other activities or roles, and it is also the skill probably most useful in the long run for the greatest number of students. Few, after all, will go on to become professional performers or music creators in some other role, and not many will even become highly competent performing amateurs. But almost everyone can develop some skills in active listening, and they deserve the attention in music education that has been mostly lacking. In the program Reimer advocates, the largest potential student population will become (in his aptly chosen term) aficionados—intelligent, discriminatory listeners. Some of this is attended to in colleges and universities, but by then the opportunity for many has passed.Building on Howard Gardner's theory of multiple intelligences, Reimer points out the limitations of analysis in terms of simply one musical intelligence. The abilities needed for musical activities are not all the same, even though they have the common requirement of listening skill. The notion of multiple musical intelligences (specifically composing, performing, improvising, listening, music theory, musicology, and music teaching) provides a rich basis and suggests new possible methods for broadening music education at all school levels. It also indicates a worthwhile area both for future research and for application beyond the field of music. Education, Reimer says, should be thought of... (shrink)

A new picture is emerging from the last hundred years’ study of evolution. Mountains of data to support—or bury—perspective are available, and there have been some substantial, recent summative works. Darlington in particular is recognized not only for comprehensiveness and insight, but for wit and clarity as well. Dobzhansky has done a rather lucid summary in nontechnical language, and Rensch has constructed a monument of documentation and intricate interpretation. Nevertheless, the picture of evolution has changed far more drastically than most (...) professionals can grasp without thoroughly digesting and independently interpreting a host of summative literature. The war-of-all-against-all, which is still evolution for the layman, has long since given away to the ecologist’s community with its various kinds of relationships. Therefore, the concept of “Biological Expansion” is now felt to be a more adequate frame of reference. (shrink)

The first part of this paper deals with the relations between mechanistic explanation and reduction. It is argued that there is no insuperable conflict between the two, but that the mechanistic framework adds requirements that are not acknowledged in the model of property reduction. The second part concerns the relations between organization and environmental factors. Internal organization may be so tightly linked to external context that both have to be considered together.

Direction d'ouvrage, en cours de publication.

Thomism and hierarchical metaphysical systems generally have rejected the moral status of animals. This paper demonstrates that a commitment to a hierarchical system involves the twin claim of being and goodness. This implies that grades of goodness perfuse the created order and also implies the proportional goodness of animals and other living beings. These implications have been consistently overlooked in traditional treatments of our moral relations to animals, yet such hierarchical systems provide an optimal grounding for such evaluations. An application (...) is made to the practice of killing animals for food and a prescription for vegetarianism is advocated. (shrink)