On 18–19 May 2018, a symposium was held in the Research Institute of Irish and Scottish Studies at the University of Aberdeen to commemorate the tenth anniversary of the death of Ronald W. Hepburn (1927–2008). The speakers at this event discussed Hepburn’s oeuvre from several perspectives. For this book, the collection of the revised versions of their talks has been supplemented by the papers of other scholars who were unable to attend the symposium itself. Thus this volume contains contributions from (...) eighteen notable scholars of different disciplines, ranging from contemporary aesthetics and art theory through to philosophical approaches to religion, education and social anthropology. It also includes a bibliography of Hepburn’s writings. The essays were first published in two special issues of the Journal of Scottish Thought, vols. 10–11 (2018–2019). -/- Ronald William Hepburn was born in Aberdeen on 16 March 1927. He went to Aberdeen Grammar School, then he graduated with an M.A. in Philosophy (1951) and obtained his doctorate from the University of Aberdeen (1955). His tutor at Aberdeen was Donald MacKinnon (1913– 1994), a Scottish philosopher and theologian, the author of A Study in Ethical Theory (1957) and The Problem of Metaphysics (1974). Hepburn taught as Lecturer at the Department of Moral Philosophy at Aberdeen (1956–60), and he was also Visiting Associate Professor of Philosophy at New York University (1959–60). He returned from the United States as Professor of Philosophy at Nottingham University. In 1964, he was appointed as a Chair in Philosophy at the University of Edinburgh and between 1965 and 1968 he was also Stanton Lecturer in the Philosophy of Religion at the University of Cambridge. From 1975 until his retirement in 1996, he held the Professorship of Moral Philosophy at Edinburgh. He died in Edinburgh on 23 December 2008. His philosophical interests ranged from theology and the philosophy of religion through moral philosophy and the philosophy of education to art theory and aesthetics. Notably, Hepburn is widely regarded as the founder of modern environmental and everyday aesthetics as a result of the influence of papers in the 1960s which pioneered a new approach to the aesthetics of the natural world. (shrink)

Little work has focused on resilience amongst older adults, and few factors have been identified that promote their resilience. Kalisch et al. suggest that socioenvironmental factors are distant influences. We argue, however, that community and societal influences are as important as individual ones. Further, an ecological framework explains why some older adults are resilient whilst others are not.

Tax avoidance practices by Multinational Enterprises such as Google, Microsoft, Apple, Starbucks and others are increasingly under scrutiny both from a legal and an ethical perspective. In 2013, the OECD launched an ‘Action Plan’ to encourage the G20 countries to address Base Erosion and Profit Shifting through an internationally co-ordinated approach, arguing that tax avoidance represents a risk for tax revenues and tax fairness, potentially “undermining taxpayers voluntary compliance.” The analysis of tax avoidance in the existing business ethics literature suffers (...) from a black-and-white approach, contending either that tax avoidance is unethical or that, being legal, tax avoidance is also ethical. However, we believe that within tax avoidance practices there are important distinctions to be made. In this paper, we analyze the ethics of tax avoidance by identifying three different forms of avoidance practices: state-induced, strategic, and toxic avoidance. We develop a more nuanced approach reviewing both the ethical arguments in defense and the ethical issues associated with each form of tax avoidance. Finally, we propose an ethical framework that could assist executives and policy-makers in their decision-making concerning tax avoidance. (shrink)

This article examines the issues that are at stake in the current resurgence of interest in the subject of habit. We focus on the role that habit has played in conceptions of the relations between body and society, and the respects in which such conceptions have been implicated in processes of governance. We argue that habit has typically constituted a point of leverage for regulatory practices that seek to effect some realignment of the relations between different components of personhood – (...) will, character, memory and instinct, for example – in order to bring about a specific end. In reviewing its functioning in this regard across a range of modern disciplines – philosophy, psychology, sociology – we explore the tensions between its use and interpretation in different lineages: in particular, the Cartesian–Kantian/ravaisson–bergson–deleuze lineages. The article then identifies how these questions are addressed across the contributions collected in this special issue. (shrink)

We applaud Ray and Cooper (2024) for emphasizing environmental health as a bioethics issue. As a team of interdisciplinary pediatric researchers and providers who are part of an institutional clima...

The Ontology Summit 2012 explored the current and potential uses of ontology, its methods and paradigms, in big systems and big data: How ontology can be used to design, develop, and operate such systems. The systems addressed were not just software systems, although software systems are typically core and necessary components, but more complex systems that include multiple kinds and levels of human and community interaction with physical-software systems, systems of systems, and the socio-technical environments for those systems which can (...) include cultural, legal, and economic components. The focus themes used for this exploration were Big Systems Engineering, Big Data Challenge, Large Scale Domain Applications, and cross-cutting aspects Ontology Quality, and Federation and Integration of Systems. The Ontology Summit 2012 consisted of over three months of intensive virtual collaborative elaboration of these issues in presentations, panels, and group email. The culmination of these activities was a face-to-face Symposium at the US National Institute of Standards and Technology (NIST), Gaithersburg, MD, USA, 12–13 April 2012. The primary product of this Ontology Summit is the communiqué reported here. But there are other products, some continuing as collaborative, more specifically focused analysis and modeling efforts aligned with various open standards activities. Behind all of these particular products, of course, is the real overriding purpose of the Ontology Summit 2012, which was: the joint collaboration of three distinct communities, the ontology, systems engineering and big systems stakeholder communities, who came together to address common problems, create common understanding and propose common solutions. (shrink)

TOT states may be viewed as a temporary and reversible microamnesia. We investigated the effects of lorazepam on TOT states in response to general knowledge questions. The lorazepam participants produced more commission errors and more TOTs following commission errors than the placebo participants . The resolution of the TOTs was unimpaired by the drug. Neither feeling-of-knowing accuracy nor recognition were affected by lorazepam. The higher level of incorrect recalls produced by lorazepam participants may be due to the fact that they (...) were more frequently temporarily unable to access a known item. For some of these items, the awareness of the retrieval failure resulted in a commission TOT . The resolution of the TOT conflict is discussed in the light of the anxiolytic and anticonflict effects of lorazepam. The data are discussed in terms of contemporary theories of TOTs and the effects that benzodiazepines have on semantic memory. (shrink)

Ineffability—that which cannot be explained in words—lies at the heart of the Christian mystical tradition. It has also been part of every discussion of religious experience since the early twentieth century. Despite this centrality, ineffability is a concept that has largely been ignored by philosophers of religion. In this book, Bennett-Hunter builds on the recent work of David E. Cooper, who argues that the meaning of life can only be understood in terms of an ineffable source on which life (...) depends, and engages with the work of continental philosophers, such as Heidegger, Merleau-Ponty and Karl Jaspers. This is the first book to explore the concept of ineffability within contemporary philosophy of religion and provides a starting point for further scholarly debate. It will be of interest to scholars of philosophy of religion, theology, existentialism and phenomenology. -/- 'Bennett Hunter’s book is a timely contribution to the growing theological and philosophical literature on mystery and ineffability. Written in a lucid and elegant style, the book makes a convincing case for the ineffability of religious experience and explores its relationship to a sense that our lives are answerable to such experience.' — David E. Cooper. -/- 'Philosophers have long concentrated on linguistic forms in a way that has isolated language from the rest of life, and this isolation has increasingly obscured for them the vast range of things that cannot be spoken. Bennett-Hunter is not the first philosopher to try and map this distracted field, but he is remarkable in the width and sympathy of his approach to the highly various thinkers whom he invokes to illuminate it.' — Mary Midgley. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.2 (2005) 142-145 [Access article in PDF] The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer Mary J. Reichling University of Louisiana at Lafayette How I respond to Bennett Reimer's challenge depends in part on how we define philosophy in this context. We might think of philosophy as a subject of study, that is, philosophy (...) in itself such as epistemology, metaphysics, and so on. Or we may conceive it as philosophy of music, better designated as aesthetics. Or we may consider philosophy as a verb in the sense of "doing" philosophy where our goal is to assist students in developing their thinking skills. It seems that Reimer is placing focus on the last, the doing of philosophy, not that these other views of philosophy are mutually exclusive; they are not.Yet even this distinction is not sufficient for discussion. I am reminded of a little book edited by Eunice Boardman, titled Dimensions of Musical Thinking and published by MENC in 1989. It is a real gem with many fine ideas. In particular it stresses the relationship of content-area knowledge to thinking, and that is what I want to do. Developing thinking skills does not take place in a vacuum: "Now I am going to think." It occurs with respect to a subject area. We have philosophy of science, philosophy of history, philosophy of art, and so on, and philosophy of music.Further, our thinking about music occurs in at least two different ways. I suggest that music possesses both instrumental and intrinsic value with respect to philosophical analysis, as well as instances where the two values are combined. In pondering these values we bring together several so-called philosophical 'methodologies': the search for meaning or understanding, analysis, criticism, [End Page 142] and synthesis. In the process we build arguments that are consistent, coherent, and correspond with the musical evidence.1And further, in our field, students, whether it be through course content itself or through performance classes, have the advantage of gaining both propositional knowledge, learning that, for example, the rhythmic value of eighth notes, and procedural knowledge or learning how, for example, performing eighth notes vocally or instrumentally.2Both of which challenge the students' thinking skills.It is also important to articulate several assumptions if we aspire to "doing" philosophy within the teaching of music. These include a belief that it is worthwhile to develop such thinking skills as I have outlined; that we are willing to take the time for dialogue within the music class or rehearsal hour; and that we as teachers are willing to be facilitators of questions rather than experts with answers.I shall attempt with a few examples to show how these thinking processes might be integrated into the music curriculum following Jerome Brunner's view that children can be taught anything if done so at their level of understanding.The first example relates to the instrumental value of music as it supports text or programmatic conceptions. Let us consider the text of a particular song such as "Blowing in the Wind" or the "Kookaburra" song, the subject of an opera such as Berg's Wozzeck, or the topic of war as exemplified in Britten's War Requiem or some of the protest songs. We ask students how the extra musical subjects are established musically, how the music communicates the ideas, why one musical setting is preferred or better than another, and so forth. In dialoging about these examples, students must first of all be perceptive listeners or participants, then analyze at their level of ability. For an elementary child such analysis might be as simple as pointing out the tempo, mood, rhythms, dynamics, or other expressive elements. Advanced students will have a more extensive musical background to draw upon. Through the analysis students come to a synthesis of these factors that leads to greater understanding of the meaning of the music as they approach questions of value and beauty. If the teacher... (shrink)

“Guy Bennett-Hunter dans «Tillich and Divine lneffabililty» affirme l‘étroite correlation entre l’affirmation tillichienne de l’ineffabilité divine et le rejet de l’ontothéologie. L’affirmation de leur incompatibilité lui semble une contribution majeure de Tillich à la pensée religieuse. Guy Bennett-Hunter part des déclarations bien connues où Tillich affirme que l’on ne saurait, à proprement parler, attribuer l’existence a Dieu puisque Dieu est «être même au-delà de l’essence et de l’existence». En d’autres termes, Dieu «mystére de l’être», «fondement et abîme de (...) la raison», résiste à la connaissance coneeptuelle et à l’articulation linguistique.” — Anne Marie Reijnen & France Farago. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.2 (2005) 142-145 [Access article in PDF] The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer Mary J. Reichling University of Louisiana at Lafayette How I respond to Bennett Reimer's challenge depends in part on how we define philosophy in this context. We might think of philosophy as a subject of study, that is, philosophy (...) in itself such as epistemology, metaphysics, and so on. Or we may conceive it as philosophy of music, better designated as aesthetics. Or we may consider philosophy as a verb in the sense of "doing" philosophy where our goal is to assist students in developing their thinking skills. It seems that Reimer is placing focus on the last, the doing of philosophy, not that these other views of philosophy are mutually exclusive; they are not.Yet even this distinction is not sufficient for discussion. I am reminded of a little book edited by Eunice Boardman, titled Dimensions of Musical Thinking and published by MENC in 1989. It is a real gem with many fine ideas. In particular it stresses the relationship of content-area knowledge to thinking, and that is what I want to do. Developing thinking skills does not take place in a vacuum: "Now I am going to think." It occurs with respect to a subject area. We have philosophy of science, philosophy of history, philosophy of art, and so on, and philosophy of music.Further, our thinking about music occurs in at least two different ways. I suggest that music possesses both instrumental and intrinsic value with respect to philosophical analysis, as well as instances where the two values are combined. In pondering these values we bring together several so-called philosophical 'methodologies': the search for meaning or understanding, analysis, criticism, [End Page 142] and synthesis. In the process we build arguments that are consistent, coherent, and correspond with the musical evidence.1And further, in our field, students, whether it be through course content itself or through performance classes, have the advantage of gaining both propositional knowledge, learning that, for example, the rhythmic value of eighth notes, and procedural knowledge or learning how, for example, performing eighth notes vocally or instrumentally.2Both of which challenge the students' thinking skills.It is also important to articulate several assumptions if we aspire to "doing" philosophy within the teaching of music. These include a belief that it is worthwhile to develop such thinking skills as I have outlined; that we are willing to take the time for dialogue within the music class or rehearsal hour; and that we as teachers are willing to be facilitators of questions rather than experts with answers.I shall attempt with a few examples to show how these thinking processes might be integrated into the music curriculum following Jerome Brunner's view that children can be taught anything if done so at their level of understanding.The first example relates to the instrumental value of music as it supports text or programmatic conceptions. Let us consider the text of a particular song such as "Blowing in the Wind" or the "Kookaburra" song, the subject of an opera such as Berg's Wozzeck, or the topic of war as exemplified in Britten's War Requiem or some of the protest songs. We ask students how the extra musical subjects are established musically, how the music communicates the ideas, why one musical setting is preferred or better than another, and so forth. In dialoging about these examples, students must first of all be perceptive listeners or participants, then analyze at their level of ability. For an elementary child such analysis might be as simple as pointing out the tempo, mood, rhythms, dynamics, or other expressive elements. Advanced students will have a more extensive musical background to draw upon. Through the analysis students come to a synthesis of these factors that leads to greater understanding of the meaning of the music as they approach questions of value and beauty. If the teacher... (shrink)

Terms such as open source and various modifications including open content and more generally openness have been mobilized with increasing frequency in recent years to describe many different collaborative and not-for-profit projects, products, services, and business models. Typically associated with the computer and internet industry, openness has in recent years assumed something of the status of a nascent movement. Whatever this movement is, whatever qualities it embodies and possibilities it enables, it is still in the process of its emergence. This (...) presents particular difficulties for understanding openness insofar as emergent practices are by definition not yet stabilized. This paper is an attempt to discern the nascent forms of stability already extant in the emerging world of openness. We begin with a brief history culminating in the near future. We then summarize the limited conclusions of an initial inquiry into these emerging openness practices which we have conducted in the context of an orientation for inquiry recently put forward by Paul Rabinow and Gaymon Bennett. The bulk of the paper is devoted to elaborating openness equipment in terms of the analytic and synthetic categories made available by Rabinow and Bennett's Diagnostic of Equipmental Platforms. On the basis of this inquiry we return in the final section to reflection on the Diagnostic itself in an attempt to critically delineate its positive and negative usages for our inquiry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly (...) the members of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (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 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and (...) feeling are very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

In this major new book, the internationally renowned thinker Jonathan Bennett offers a deeper understanding of what is going on in our own moral thoughts about human behavior. The Act Itself presents a conceptual analysis of descriptions of behavior on which we base our moral judgements, and shows that this analysis can be used as a means toward getting more control of our thoughts and thus of our lives.

In _Neuroscience and Philosophy_ three prominent philosophers and a leading neuroscientist clash over the conceptual presuppositions of cognitive neuroscience. The book begins with an excerpt from Maxwell Bennett and Peter Hacker's _Philosophical Foundations of Neuroscience_ (Blackwell, 2003), which questions the conceptual commitments of cognitive neuroscientists. Their position is then criticized by Daniel Dennett and John Searle, two philosophers who have written extensively on the subject, and Bennett and Hacker in turn respond. Their impassioned debate encompasses a wide range (...) of central themes: the nature of consciousness, the bearer and location of psychological attributes, the intelligibility of so-called brain maps and representations, the notion of qualia, the coherence of the notion of an intentional stance, and the relationships between mind, brain, and body. Clearly argued and thoroughly engaging, the authors present fundamentally different conceptions of philosophical method, cognitive-neuroscientific explanation, and human nature, and their exchange will appeal to anyone interested in the relation of mind to brain, of psychology to neuroscience, of causal to rational explanation, and of consciousness to self-consciousness. In his conclusion Daniel Robinson (member of the philosophy faculty at Oxford University and Distinguished Professor Emeritus at Georgetown University) explains why this confrontation is so crucial to the understanding of neuroscientific research. The project of cognitive neuroscience, he asserts, depends on the incorporation of human nature into the framework of science itself. In Robinson's estimation, Dennett and Searle fail to support this undertaking; Bennett and Hacker suggest that the project itself might be based on a conceptual mistake. Exciting and challenging, _Neuroscience and Philosophy_ is an exceptional introduction to the philosophical problems raised by cognitive neuroscience. (shrink)

"Neuroscience and Philosophy" begins with an excerpt from "Philosophical Foundations of Neuroscience," in which Maxwell Bennett and Peter Hacker question the ...

This essay sketches the musical art of Frances Pelton-Jones, an American harpsichordist active at the beginning of the twentieth century. Almost entirely unknown today, she was widely acclaimed in her day for performing elaborate costume recitals dressed as Marie Antoinette. More than just a recitalist in costume, Pelton-Jones staged elaborate tableaux vivants with environmental decor to elicit fantasies of the past. Bridging the worlds of fashion, environmental design, and music, her performances offer a compelling case study to investigate the aesthetic (...) applications of Jane Bennett’s ecological theory of assemblages. Exploring how different human and nonhuman actants collaborated in Pelton-Jones’ art to evoke whole historical atmospheres for her audiences, I elaborate Bennett’s argument about the synthetic potential of combining certain materials to conjure an affect, highlighting how the delicacy of the assemblage as a whole often is contingent upon the frailty of the individual materials involved. Ultimately, Bennett’s theory affirms the aesthetic sensibilities of Pelton-Jones whose musical productions delighted audiences by harnessing the synthetic potential of well-coordinated vital materials. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly (...) the members of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

Conditional sentences are among the most intriguing and puzzling features of language, and analysis of their meaning and function has important implications for, and uses in, many areas of philosophy. Jonathan Bennett, one of the world's leading experts, distils many years' work and teaching into this Philosophical Guide to Conditionals, the fullest and most authoritative treatment of the subject. An ideal introduction for undergraduates with a philosophical grounding, it also offers a rich source of illumination and stimulation for graduate (...) students and professional philosophers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly (...) the members of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

Some commentators have condemned Kant’s moral project from a feminist perspective based on Kant’s apparently dim view of women as being innately morally deficient. Here I will argue that although his remarks concerning women are unsettling at first glance, a more detailed and closer examination shows that Kant’s view of women is actually far more complex and less unsettling than that attributed to him by various feminist critics. My argument, then, undercuts the justification for the severe feminist critique of Kant’s (...) moral project. (shrink)

In this essay, I draw out some implications of a position called “Wittgensteinian Quasi-Fideism” for the theory and practice of interreligious communication. After setting out the main tenets of that position, I articulate what its theoretical and practical implications in this area would be if it were true. I thereby sketch a new, Wittgensteinian model of interreligious communication, concluding with a number of suggestions as to some points of focus for further work in this area.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and (...) feeling are very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

In this paper I consider whether traditional behaviors of animals, like traditions of humans, are transmitted by imitation learning. Review of the literature on problem solving by captive primates, and detailed consideration of two widely cited instances of purported learning by imitation and of culture in free-living primates (sweet-potato washing by Japanese macaques and termite fishing by chimpanzees), suggests that nonhuman primates do not learn to solve problems by imitation. It may, therefore, be misleading to treat animal traditions and human (...) culture as homologous (rather than analogous) and to refer to animal traditions as cultural. (shrink)

How can we motivate ourselves to do what we think we ought? How can we deliberate about personal values and priorities? Bennett Helm argues that standard philosophical answers to these questions presuppose a sharp distinction between cognition and conation that undermines an adequate understanding of values and their connection to motivation and deliberation. Rejecting this distinction, Helm argues that emotions are fundamental to any account of value and motivation, and he develops a detailed alternative theory both of emotions, desires (...) and evaluative judgements and of their rational interconnections. The result is an innovative theory of practical rationality and of how we can control not only what we do but also what we value and who we are as persons. (shrink)

These diary entries from John and Elizabeth Bennett cover the few months before Gurdjieff's death in Paris on October29, 1949. Twice daily the group would go through a series of rituals, the most significant of which was known as "the toast of the idiots". This "science of idiotism" portrayed the human situation and the hazards of attaining liberation.

Foreword to new edition / George Bennett -- Original foreword / Elizabeth Bennett -- The diaries July 23, 1949-November 7,1949 -- Additional entries November 8-22, 1949.

Philosophers and cognitive scientists address the relationships among the senses and the connections between conscious experiences that form unified wholes. In this volume, cognitive scientists and philosophers examine two closely related aspects of mind and mental functioning: the relationships among the various senses and the links that connect different conscious experiences to form unified wholes. The contributors address a range of questions concerning how information from one sense influences the processing of information from the other senses and how unified states (...) of consciousness emerge from the bonds that tie conscious experiences together. Sensory Integration and the Unity of Consciousness is the first book to address both of these topics, integrating scientific and philosophical concerns. A flood of recent work in both philosophy and perception science has challenged traditional conceptions of the sensory systems as operating in isolation. Contributors to the volume consider the ways in which perceptual contact with the world is or may be “multisensory,” discussing such subjects as the modeling of multisensory integration and philosophical aspects of sensory modalities. Recent years have seen a similar surge of interest in unity of consciousness. Contributors explore a range of questions on this topic, including the nature of that unity, the degree to which conscious experiences are unified, and the relationship between unified consciousness and the self. Contributors Tim Bayne, David J. Bennett, Berit Brogaard, Barry Dainton, Ophelia Deroy, Frederique de Vignemont, Marc Ernst, Richard Held, Christopher S. Hill, Geoffrey Lee, Kristan Marlow, Farid Masrour, Jennifer Matey, Casey O'Callaghan, Cesare V. Parise, Kevin Rice, Elizabeth Schechter, Pawan Sinha, Julia Trommershaeuser, Loes C. J. van Dam, Jonathan Vogel, James Van Cleve, Robert Van Gulick, Jonas Wulff. (shrink)

Recently there has been a resurgence of philosophical interest in love, resulting in a wide variety of accounts. Central to most accounts of love is the notion of caring about your beloved for his sake. Yet such a notion needs to be carefully articulated in the context of providing an account of love, for it is clear that the kind of caring involved in love must be carefully distinguished from impersonal modes of concern for particular others for their sakes, such (...) as moral concern or concern grounded in compassion. That is, we might say, the kind of caring that is central to love must be somehow distinctly intimate. The trouble is to cash out these firm intuitions in a satisfactory way. (shrink)

There is now a general consensus amongst philosophers in the values in science literature that values necessarily play a role in core areas of scientific inquiry. We argue that attention should now be turned from debating the value-free ideal to delineating legitimate from illegitimate influences of values in science, a project we dub “The New Demarcation Problem.” First, we review past attempts to demarcate the uses of values and propose a categorization of the strategies by where they seek to draw (...) legitimacy from. Next, we propose a set of desiderata for what we take to be a satisfactory solution and present a case study where conflicting sets of values clearly impinge on science, but where the legitimacy of their influence is ambiguous. We use these desiderata and the case study to illustrate what we take to be the strengths and weaknesses of current strategies. To be clear, our goal is not to answer the question we pose, but to articulate a framework within which a solution can be judged. (shrink)

This introductory chapter provides a general framework for thinking about the relationship between wealth and power. It begins by situating the topic in the history of political thought, modern social science, and recent political philosophy, before putting forward an analytical framework. This has three elements: first, the idea of liberalism's public/private divide: a division between a power-wielding state from which wealth should be absent, and a market economy from which power should be absent; second, the two ways the division can (...) be transgressed by the power of the wealthy: by the wealthy subverting the power of the state and by directly exercising power within the economy; and third, the four different approaches to responding to the transgression, either aiming to reassert the public/private divide or to move beyond it. (shrink)

Abstract:This article brings together considerations from philosophical work on standpoint epistemology, feminist philosophy of science, and epistemic injustice to examine a particular problem facing contemporary psychiatry: the conflict between the conceptual resources of psychiatric medicine and alternative conceptualizations like those of the neurodiversity movement and psychiatric abolitionism. I argue that resistance to fully considering such alternative conceptualizations in processes such as the revision of the Diagnostic and Statistical Manual of Mental Disorders emerges in part from a particular form of epistemic (...) injustice (hermeneutical ignorance) leveled against a particular social group (which I call the "psychopathologized"). Further, insofar as the objectivity which psychiatry should aspire to is a kind of "social objectivity" which requires incorporation of various normative perspectives, this particular form of epistemic injustice threatens to undermine its scientific objectivity. Although many questions regarding implementation remain, this implies that psychiatry must grapple substantively with radical reconceptualizations of its domain if it is to achieve legitimate scientific objectivity. (shrink)

Corporations are increasingly asked to specify a ‘purpose.’ Instead of focusing on profits, a company should adopt a substantive purpose for the good of society. This chapter analyses, historicises, and radicalises this call for purpose. It schematises the history of the corporation into two main purpose/power regimes, each combining a way of thinking about corporate purpose with specific institutions to hold corporate power to account. Under the special charter regime of the seventeenth to mid-nineteenth centuries, governments chartered companies to pursue (...) specific public purposes. Under criticism for corruption and lack of competition, the special charter regime gave way to the contemporary general incorporation regime, under which no particular purposes are demanded of corporations, and profit-seeking has become the norm. This regime has now come under criticism, with calls for a new social purpose regime. The analysis of these three regimes focuses on politicisation. The chapter argues that orienting companies to substantive social purposes requires politicising the business corporation, creating meaningful accountability mechanisms to align companies with the goals of the public. The purpose paradigm must overcome its political timorousness and be more institutionally radical. The difficulty is doing this without unacceptable corruption and inefficiency. A form of ‘proper politicisation’ is needed. At the end of the chapter, some directions for reform are discussed, which may deliver on that desideratum. (shrink)

One often hears it said that our visual-perceptual contact with the world is “perspectival.” But this can mean quite different things. Three different senses in which our visual contact with the world is “perspectival” are distinguished. The first involves the detection or representation of behaviorally important relations, holding between a perceiving subject and the world. These include time to contact, body-scaled size, egocentric position, and direction of heading. The second perspective becomes at least explicitly manifest in taking up the “proximal (...) mode” and involves the representation of relational “appearance properties,” such as, perhaps , angular size and angular/projective shape at or from a viewpoint. The third perspective is associated with the pencil of rays structured by the position and geometry of the eyes. The relationships between these three perspectives are charted, and their connection with conscious experiential awareness discussed. So, e.g., there is no simple or direct route from the detection of the relations constitutive of perspective2 to detection of the relations constitutive of perspective1. The relations definitive of perspective3 are probably not themselves detected or represented by the visual system, but define the informational arena within which detection of the relations definitive of perspective1 and perspective2 takes place. (shrink)