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

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

Consciousness has been defined as that annoying period between naps, and this grumpy definition may not be wholly facetious, if Michael Tye’s latest book is right. Tye’s main goal here is to develop a theory of the phenomenal unity of experience at a time, and its diachronic analog, the moment-to-moment continuity of one’s experiential stream from the time one wakes up to the time consciousness lapses.

From this post-reflective point of view, the book argues for an intimate relationship between cognition, sensorimotor embodiment, and the integrative character ...

" With this succinct formulation, Murray Bookchin launches his most ambitious work, The Ecology of Freedom.

The recent philosophy of Quantum Bayesianism, or QBism, represents an attempt to solve the traditional puzzles in the foundations of quantum theory by denying the objective reality of the quantum state. Einstein had hoped to remove the spectre of nonlocality in the theory by also assigning an epistemic status to the quantum state, but his version of this doctrine was recently proved to be inconsistent with the predictions of quantum mechanics. In this essay, I present plausibility arguments, old and new, (...) for the reality of the quantum state, and expose what I think are weaknesses in QBism as a philosophy of science. (shrink)

Scepticism about ought simpliciter is the view that there is no such thing as what one ought simpliciter to do. Instead, practical deliberation is governed by a plurality of normative standpoints, each authoritative from their own perspective but none authoritative simpliciter. This paper aims to resist such scepticism. After setting out the challenge in general terms, I argue that scepticism can be resisted by rejecting a key assumption in the sceptic’s argument. This is the assumption that standpoint-relative ought judgments bring (...) with them a commitment to act in accordance with those judgments. Instead, I propose an alternative account of our normative concepts according to which only ought simpliciter judgments commit one to acting in accordance with those judgments. In addition to answering the sceptical challenge, the proposal offers an independently motivated account of what makes a concept normatively authoritative. (shrink)

Increasingly, Western culture embraces confusion as a virtue and decries certainty as a sin. Those who are confused about sexuality and identity are viewed as heroes. Those who are confused about morality are progressive pioneers. Those who are confused about spirituality are praised as tolerant. Conversely, those who express certainty about any of these issues are seen as bigoted, oppressive, arrogant, or intolerant. This cultural phenomenon led the compilers of the Oxford English Dictionary to name "post-truth" their word of the (...) year in 2016. How can Christians offer truth and clarity to a world that shuns both? By accurately describing the Culture of Confusion and how it has affected our society, author Abdu Murray seeks to awaken Westerners to the plight we find ourselves in. He also challenges Christians to consider how they have played a part in fostering the Culture of Confusion through bad arguments, unwise labeling, and emotional attacks. Ultimately, Saving Truth provides arguments from a Christian perspective for the foundations of truth and how those foundations apply to sexuality, identity, morality, and spirituality. For those enmeshed in the culture of confusion, the book offers a way to untangle oneself and find hope in the clarity that Christ offers. (shrink)

A challenging new work of cultural and political theory rethinks the concept of hegemony.

In the Nicomachean Ethics Aristotle examines the nature of happiness, which he defines as a specially good kind of life. He considers the nature of practical reasoning, friendship, and the role and importance of the moral virtues in the best life. This new edition features a revised translation and valuable new introduction and notes.

This volume assesses the ethical, quantitative, and qualitative questions posed by the current financing of biomedical research.

This work represents Murray Bookchin's riposte to the antihumanism, mysticism and antirationalism which are influencing many people's attitudes to environmental problems. Bookchin offers a critique of, among others, social Darwinists, deep ecologists, new agers, technophobes, Foucault, Derrida and Baudrillard.

A qualitative analysis of societal silences, demonstrating how the unsaid directs social action and shapes individual and collective lives.

In his new introduction to this current edition of this classic in the field originally published in 1982 (Humanities Press), Hoppe (economics, U. of Nevada, Las Vegas--as was the late author) extols Rothbard's marriage of the "value-free" science of economics with the normative enterprise of ethics and their offspring: libertarianism. Discussion areas are: natural law, a theory of liberty, the state vs. liberty, modern alternative theories of liberty, and toward a theory of strategy for liberty. Annotation copyrighted by Book News, (...) Inc., Portland, OR. (shrink)

Roots present first‐hand accounts of discoveries in genetics, molecular biology, cellular biology, and developmental biology. In the following article, Murray L. Barr describes the background to and the events surrounding the discovery of the cytogenetic evidence for inactive × chromosomes in mammals. In the accompanying article, Michael W. McBurney reviews current molecular knowledge about the inactive × and proposes a hypothesis to explain the phenomenon.

In this study of the works of Sren Kierkegaard, Murray Rae focuses on his understanding of the Christian faith and the nature of Christian conversion. The transformation of an individual under the impact of revelation is explored both in terms of the New Testament concept of metanoia and in comparison with claims to cognitive progress in other fields.

Citizenship education in established democracies is challenged by declining youth participation in democracy. Youth disenchantment and disengagement in democracy is primarily evident in formal political behaviour, especially through voting, declining membership of political parties, assisting at elections, contacting politicians, and the like. If citizenship education is to play a major role in addressing these concerns it will need to review the impact it is making on young people in schools. This paper reviews a major national project on youth participation in (...) democracy in Australia set in the context of a national citizenship education programme. The Youth Electoral Study found that citizenship education in Australian schools has at best been marginally successful and substantially more is required to raise levels of democratic engagement. The paper explores many opportunities available to education systems and schools to address these issues through reconceptualising aspects of the formal and the informal curriculum. (shrink)

:This article considers recent ethical topics relating to medical AI. After a general discussion of recent medical AI innovations, and a more analytic look at related ethical issues such as data privacy, physician dependency on poorly understood AI helpware, bias in data used to create algorithms post-GDPR, and changes to the patient–physician relationship, the article examines the issue of so-called robot doctors. Whereas the so-called democratization of healthcare due to health wearables and increased access to medical information might suggest a (...) positive shift in the patient-physician relationship, the physician’s ‘need to care’ might be irreplaceable, and robot healthcare workers might be seen as contributing to dehumanized healthcare practices. (shrink)

Utterances of natural language sentences can be used to communicate not just contents, but also forces. This paper examines this topic from a cross-linguistic perspective on sentential mood. Recent work in this area focuses on conversational dynamics: the three sentence types can be associated with distinctive kinds of conversational effects called sentential forces, modeled as three kinds of updates to the discourse context. This paper has two main goals. First, it provides two arguments, on empirical and methodological grounds, for treating (...) sentential force as part of a compositional dynamic semantics, rather than a dynamic pragmatics. Second, it formulates a minimal dynamic semantic analysis that covers the data at the heart of these arguments, incorporating existing analyses of the three major moods, evidentials and conjunction. A further aim of the paper is to sharpen the distinction between sentential force and utterance force, and discuss its implications. (shrink)

Decision theory and folk psychology both purport to represent the same phenomena: our belief-like and desire- and preference-like states. They also purport to do the same work with these representations: explain and predict our actions. But they do so with different sets of concepts. There's much at stake in whether one of these two sets of concepts can be accounted for with the other. Without such an account, we'd have two competing representations and systems of prediction and explanation, a dubious (...) dualism. Folk psychology structures our daily lives and has proven fruitful in the study of mind and ethics, while decision theory is pervasive in various disciplines, including the quantitative social sciences, especially economics, and philosophy. My interest is in accounting for folk psychology with decision theory -- in particular, for believe and wanting, which decision theory omits. Many have attempted this task for belief. (The Lockean Thesis says that there is such an account.) I take up the parallel task for wanting, which has received far less attention. I propose necessary and sufficient conditions, stated in terms of decision theory, for when you're truly said to want; I give an analogue of the Lockean Thesis for wanting. My account is an alternative to orthodox accounts that link wanting to preference (e.g. Stalnaker (1984), Lewis (1986)), which I argue are false. I argue further that want ascriptions are context-sensitive. My account explains this context-sensitivity, makes sense of conflicting desires, and accommodates phenomena that motivate traditional theses on which 'want' has multiple senses (e.g. all-things-considered vs. pro tanto). (shrink)

This is a commentary on selected texts of Plato concerned with poetry: the Ion and relevant sections of the Republic. It is the first commentary to present these texts together in one volume, and the first in English on Republic 2 and 3 and Ion for nearly 100 years. The introduction sets Plato's views in their Greek context and outlines their influence on later aesthetic thought. An important feature of the commentary is its exploration of the ambivalence of Plato's pronouncements (...) through an analysis of his own skill as a writer. (shrink)

The project of naturalising phenomenology is examined within the larger context of the philosophy of science. Transcendental phenomenology, as defended by Husserl, in opposition to the naturalistic enterprise, reflects a particular way of thinking about philosophy and its relationship to the empirical sciences that stands as an obstacle to the project of naturalisation. This paper develops a critique of a basic assumption made in this conception of philosophy, namely that it is possible to ask and answer questions concerning knowledge in (...) the abstract, prior to and independently of the various investigative contexts which are the immediate concern of practicing scientists. To successfully naturalise phenomenology, we need to abandon this conception of philosophy. (shrink)

For Plato and Aristotle, arete (traditionally translated as "virtue") was the essential object of human admiration and striving, and even the key to happiness. Their work continues to inspire reflection on fundamental questions of ethics and politics today, as the fourteen new essays collected here demonstrate. -/- Contributors: Lidia Palumbo, Eva Anagnostou-Laoutides, Ryan M. Brown, Jay R. Elliott, Guilherme Domingues da Motta, Federico Casella, Jonathan A. Buttaci, George Harvey, Mark Ralkowski, Gary S. Beck, Paula Gottlieb, Giulio di Basilio, Audrey (...) L. Anton, and Elena Bartolini. (shrink)