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)

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)

It has been fashionable in the generalist literature to argue that the Ottomans lacked knowledge in European geography and politics. This chapter first offers some comments regarding Istanbul's understanding of geography and environment in the context of Ottoman strategy and frontier warfare. The, it presents a short overview of the importance of rivers, marshlands and mountains with regard to the formation of the opposing Hapsburg and Ottoman defence systems in Hungary. The last part of the chapter deals with the relationship (...) between landscape, climate and fortifications and offers some preliminary results and tentative observations regarding deforestation and marshlands. The discussion also argues, although in somewhat different ways, that the Ottomans and their Hapsburg rivals both had a keen interest in geography and mapped their empires and resources, and possessed adequate information as to the terrain and river systems of their lands and frontiers. (shrink)

We introduce a new allocation rule, called the sequential equal surplus division for rooted forest TU-games. We provide two axiomatic characterizations for this allocation rule. The first one uses the classical property of component efficiency plus an edge deletion property. The second characterization uses standardness, an edge deletion property applied to specific rooted trees, a consistency property, and an amalgamation property. We also provide an extension of the sequential equal surplus division applied to the problem of sharing a (...) class='Hi'>river with bifurcations. (shrink)

Vietnam’s forests are at risk - carbon offset schemes could be the best chance of saving them, say Dr. Quan-Hoang Vuong and Minh-Hoang Nguyen. The value of forests is deeply ingrained in Vietnamese culture. Rừng vàng, biển bạc” [“forests of gold and seas of silver”] is both a metaphor for Vietnam, and a description of its natural wealth. The phrase is everywhere, from political speeches to daily conversation, as is Nhất phá sơn lâm, nhì đâm hà bá [“the worst crime (...) is to destroy the mountains and forests, the second worst is to kill the river”]. Deforestation is a Vietnamese taboo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 51-56 [Access article in PDF] KarraKarrawirraparri-River Red Gum-Eucalyptus Camaldulensis Vivonne Thwaites [Figures]Karra was a visual arts project devised for the 2000 Adelaide Festival in Australia. Its focus was the River Red Gum, quite justifiably an Australian icon, and once the most widespread tree in south eastern Australia. The project comprised an installation by three artists and a forty-page publication with essays (...) and visual material from many contributors.The intention of the project (which I developed and oversaw as curator) was twofold. First, I hoped that an examination of the River Red Gum from a number of points of view might help people connect with the tree itself, and more broadly with this place non-Aboriginal Australians so uneasily inhabit. Second, given the tree's central place in Australia's inland waterways, I wanted the art to help people consider the urgent problems facing this ecosystem, such as increased salinity, diminished water flow and environmental degradation. This subject had particular relevance for South Australians, as our state is so dependent on the Murray-Darling River system. For example, in February 1999 the Commonwealth Scientific and Industrial Research Organisation published a media release on "Salt: Australia's Greatest Battle," declaring that we stand to lose a large fraction of our native biodiversity to salinity, and that native tress "remain the front line answer." [End Page 51]Behind the Festival Centre lies the River Torrens and the Adelaide Plains. Along the river are several gnarled old trees, River Red Gums, some of them predating white settlement and bearing the scars of Aboriginal timber collecting activities. The media was full of stories about the way these trees were still being cut down along the Murray further out, regardless of their proven value in filtering water and reducing salinity. The theme of the 2000 Festival was "The New Out of the Old," and it seemed that a project about the relevance of these beautiful old trees would help educate and inspire. We found the subject for the Festival project right in our own backyard.Once committed to the subject, research could begin. First up was the tree's Aboriginal history. The Kaurna people, original inhabitants of the Adelaide Plains, called it Karra or more fully, Karrawirraparri (literally 'redgum-forest-river'). The tree was central to their lives as source of food and shelter, and supplier of timber for shields and other implements. There are incised shields of Red Gum in the South Australian Museum, and delicate drawings of the tree by Jim Kite. The tree's place in Australia's white history can be traced back to explorer's journals where, variously named, it was described as a welcome sign of the presence of a watercourse. More recently it appears in the natural history writing of Eric Rolls and others (Rolls 2002). Ironically the tree's botanical name, Eucalyptus camaldulensis, originated in 1832, when a botanist admired and named a single specimen grown by monks outside Naples, Italy. The eucalyptus was already spreading in 1832.Early in the research it became clear that the Red Gum tree, and the complex set of natural and cultural interactions it engendered, could be seen as a symbol of human interactions with the land in Australia. The tree was much discussed and much loved by Australians, but also much abused. It seemed that bringing together different systems of understanding and representation of the tree could help contemporary urban Australians begin to understand their own connections to it, and to the land as well. This was the broader cultural agenda of the project.Preparing the art exhibition required a wide reading of literature. Les Murray's poem, "The Gum Forest," one of the greatest 20th - century Australian poems, was inspirational: After the last gapped wire on a post, homecoming for me, to enter the gum forest. (1998, 33) [End Page 52] [Begin Page 54]So too was Murray Bail's book Eucalyptus: By sheer numbers there's always a bulky Red Gum here or somewhere else in the wide world, muscling into the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 51-56 [Access article in PDF] KarraKarrawirraparri-River Red Gum-Eucalyptus Camaldulensis Vivonne Thwaites [Figures]Karra was a visual arts project devised for the 2000 Adelaide Festival in Australia. Its focus was the River Red Gum, quite justifiably an Australian icon, and once the most widespread tree in south eastern Australia. The project comprised an installation by three artists and a forty-page publication with essays (...) and visual material from many contributors.The intention of the project (which I developed and oversaw as curator) was twofold. First, I hoped that an examination of the River Red Gum from a number of points of view might help people connect with the tree itself, and more broadly with this place non-Aboriginal Australians so uneasily inhabit. Second, given the tree's central place in Australia's inland waterways, I wanted the art to help people consider the urgent problems facing this ecosystem, such as increased salinity, diminished water flow and environmental degradation. This subject had particular relevance for South Australians, as our state is so dependent on the Murray-Darling River system. For example, in February 1999 the Commonwealth Scientific and Industrial Research Organisation published a media release on "Salt: Australia's Greatest Battle," declaring that we stand to lose a large fraction of our native biodiversity to salinity, and that native tress "remain the front line answer." [End Page 51]Behind the Festival Centre lies the River Torrens and the Adelaide Plains. Along the river are several gnarled old trees, River Red Gums, some of them predating white settlement and bearing the scars of Aboriginal timber collecting activities. The media was full of stories about the way these trees were still being cut down along the Murray further out, regardless of their proven value in filtering water and reducing salinity. The theme of the 2000 Festival was "The New Out of the Old," and it seemed that a project about the relevance of these beautiful old trees would help educate and inspire. We found the subject for the Festival project right in our own backyard.Once committed to the subject, research could begin. First up was the tree's Aboriginal history. The Kaurna people, original inhabitants of the Adelaide Plains, called it Karra or more fully, Karrawirraparri (literally 'redgum-forest-river'). The tree was central to their lives as source of food and shelter, and supplier of timber for shields and other implements. There are incised shields of Red Gum in the South Australian Museum, and delicate drawings of the tree by Jim Kite. The tree's place in Australia's white history can be traced back to explorer's journals where, variously named, it was described as a welcome sign of the presence of a watercourse. More recently it appears in the natural history writing of Eric Rolls and others (Rolls 2002). Ironically the tree's botanical name, Eucalyptus camaldulensis, originated in 1832, when a botanist admired and named a single specimen grown by monks outside Naples, Italy. The eucalyptus was already spreading in 1832.Early in the research it became clear that the Red Gum tree, and the complex set of natural and cultural interactions it engendered, could be seen as a symbol of human interactions with the land in Australia. The tree was much discussed and much loved by Australians, but also much abused. It seemed that bringing together different systems of understanding and representation of the tree could help contemporary urban Australians begin to understand their own connections to it, and to the land as well. This was the broader cultural agenda of the project.Preparing the art exhibition required a wide reading of literature. Les Murray's poem, "The Gum Forest," one of the greatest 20th - century Australian poems, was inspirational: After the last gapped wire on a post, homecoming for me, to enter the gum forest. (1998, 33) [End Page 52] [Begin Page 54]So too was Murray Bail's book Eucalyptus: By sheer numbers there's always a bulky Red Gum here or somewhere else in the wide world, muscling into the... (shrink)

In Midstream, photographer Richard Wasserman documents the entire length of the 156-mile Chicago River and gives readers a glimpse into a mostly hidden landscape. As the twentieth century was drawing to a close and the city's industrial manufacturing era was rapidly waning, Wasserman took note of increased efforts to clean, beautify, and conserve the river, and he felt an urgent need to preserve the memory of Chicago's brawling past. As the project progressed and the photographer found himself captivated (...) by the river's extraordinarily diverse uses and visually rich landscape, he grew determined to capture the river in its entirety, in its varying moods and seasons, and from every possible vantage point during a time of rapid transformation. Midstream is the culmination of this ten-year project, in which there was always one more location to explore and another moment to capture. The result is a remarkable record of the Chicago River, revealing the nature of the waterway as it changed throughout the seasons and in relation to the dramatic extremes of Chicago weather. Scenes that had been hidden by foliage in the summer were unveiled in the winter when the trees shed their leaves. During dry spells when the water level fell, artifacts that were usually submerged became visible and offered tantalizing hints of the past. Wasserman's experiences along the riverbanks varied by location: in forest preserves he captured images of deer, beaver, and muskrats in the midst of idyllic flora; in dense urban areas his subjects were nineteenth-century factories and warehouses, many of which have been converted to offices and apartments, standing shoulder to shoulder with gleaming new office towers and condominium buildings. With an essay by Julia S. Bachrach, Midstream will be a significant resource and a lasting documentation of the Chicago River during the first decade of the twenty-first century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Sunflower Forest: Ecological Restoration and the New Communion with NatureEric Katz (bio)Review of William R. Jordan III, The Sunflower Forest: Ecological Restoration and the New Communion with Nature. Berkeley, CA: University of California Press, 2003. Pp. 256, Index.In The Sunflower Forest, William Jordan presents the process of ecological restoration as a new environmental paradigm for a "new kind of environmentalism" which will be "adequate (...) to the task of ensuring the survival of the world's natural landscapes or of providing the basis for a healthy relationship with them" (p. 3). It is unfortunate that this overall vision for the process of ecological restoration (if not for the argument of the book) begins with an equivocation on the task of this new environmental paradigm—is the task of ecological restoration to ensure the survival of natural landscapes or is it merely to provide humans with a healthy relationship with these landscapes? Jordan, who for many years was in charge of publications and public outreach at the University of Wisconsin Arboretum (a leading research center in the science of ecological restoration), as well as the founding editor of the journal Ecological Restoration (originally: Restoration and Management Notes) and a founding member of the Society for Ecological Restoration, should be the perfect candidate to explain and to justify the processes and goals of ecological restoration. But the equivocation noted above is a warning that the book's main theses are poorly argued and expressed; Jordan's arguments [End Page 97] and presentation do not serve to advance the understanding of restoration as a fundamental and essential task of contemporary environmentalism. On the contrary, the book bolsters the arguments of critics, such as myself, who believe that ecological restoration is a misguided and inappropriate environmental policy.Ecological restoration is the process by which we humans attempt to bring an ecological system (such as a prairie, lake, river, wetland, mountain) back to some prior or original state before it was modified (usually negatively) by human impacts and interventions. Sometimes this means re-creating an entirely new ecosystem that no longer exists; in other cases it means the repair and rehabilitation of damaged ecosystems. Jordan does not, in this book, defend this practice directly. Although he mentions the main anthropocentric benefits that restored systems will maximize (e.g., "rebuilding the ecological capital of soil, air, water, biological diversity, and productivity that is the basis for all human economies" [p. 50] ), his chief interest lies in other directions. He is critical of traditional environmentalism because it has failed "to provide the basis for a satisfactory relationship between culture and nature as it is represented by classic landscapes" (p. 8). Ecological restoration, for Jordan, does provide the basis of this relationship: "Understood not merely as an emergency measure, to be deployed in response to dramatic or acute insults to ecosystems... but as an ongoing process of ecological compensation, restoration quite simply defines the terms of our relationship with natural landscapes, and the terms on which they will survive..." (p. 15).Ecological compensation seems to be the key idea here. Restoration provides a means for humans to inhabit a landscape in a respectful manner and overcome the so-called "dilemma of use" (p. 16)—for we must use the natural world as we simultaneously try to preserve and protect it. But for Jordan, the mere concept of "use" is too mild; the fact is that the human species is self-conscious of its "contributions to the violent process of creation"—the domestication of animals and the invention of agriculture are cited as two primary examples (p. 39). The self-consciousness of our participation in this necessary violence against the non-human natural world creates in us a deep sense of shame, and it is this shame, and our attempts to overcome it, that explains and justifies the process of ecological restoration, which is itself shameful. Thus, for Jordan: [End Page 98]Restoration is shameful because it involves killing and a measure of hegemony over the land; because the restoration effort is never fully successful and never complete; because it dramatizes not only our troubling dependence on the natural landscape, but—equally troubling—its... (shrink)

The article analyses a transdisciplinary wicked upstream–downstream conflict over water allocation in an arid region of Inner Mongolia. This conflict is about scarce water resources which can be either allocated to irrigation agriculture upstream or to preservation and restoration a rare ecosystem downstream. This conflict is located at the interface of environmental and agricultural ethics. The case study is about Heihe River, agricultural demands for irrigation in the region of Zhangye, and endangered Tugai forest at downstream Heihe in (...) Ejina oasis. Authors use a theoretical approach of environmental philosophy and rely on the concept of ‘strong sustainability’. From this background two normative yardsticks are derived: a constant natural capital rule and the overall satisfactory goodness of a river basin. Both yardsticks are not met at Heihe. Downstream, we see the endangered Tugai forest as a location which should be preserved de re. We argue for a viable institutional water saving strategy within the agricultural areas of Zhangye district by which Tugai forests at downstream Heihe might be restored. Our case study indicates that even wicked problems can find proper and prudent solutions. (shrink)

Tome I. Quatre essais sur les régimes conceptuels -- Tome 2. Quatre essais sur la connaissance de l'Humain.

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)

Explores the topic of ethics in sports, including stories of good sportsmanship in action, playing by the rules, and game preparation.

The Dutch microbiologist/biochemist Albert Jan Kluyver was an early proponent of the idea of biochemical unity, and how that concept might be demonstrated through the careful study of microbial life. The fundamental relatedness of living systems is an obvious correlate of the theory of evolution, and modern attempts to construct phylogenetic schemes support this relatedness through comparison of genomes. The approach of Kluyver and his scientific descendants predated the tools of modern molecular biology by decades. Kluyver himself is poorly recognized (...) today, yet his influence at the time was profound. Through lens of today however, it has been argued that the focus by Kluyver and others to create taxonomic and phylogenetic schemes using morphology and biochemistry distorted and hindered progress of the discipline of microbiology, because of a perception that the older approaches focused too much on a reductionist worldview. This essay argues that in contrast the careful characterization of fundamental microbial metabolism and physiology by Kluyver made many of the advances of the latter part of the twentieth century possible, by offering a framework which in many respects anticipated our current view of phylogeny, and by directly and indirectly training a generation of scientists who became leaders in the explosive growth of biotechnology. (shrink)

It is currently estimated that more than 1 billion animals are killed for the fur industry every year. This industry is estimated to be valued in the region of $40 billion. This indicates both that there is a moral imperative and an economic opportunity to explore alternatives to conventional fur. While faux fur is currently available on the market, its production is associated with environmentally destructive practices. The development of stem cell technologies provides an exciting new avenue to explore. Specifically, (...) the use of induced pluripotent stem cells may provide a means of growing fur in a laboratory setting. Here we outline the proposed technology and methods. We consider and respond to a number of potential moral objections against pursuing this innovative possibility, arguing that the benefits such technology could bring to animals in the fur industry are too great to be ignored. (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)

Joseph Priestley, the eighteenth-century scientist who discovered oxygen, was one of the most remarkable thinkers of his time. This collection of essays by a team of experts covers the full range of his work in the fields of education, politics, philosophy, and theology, and firmly re-establishes him as a major intellectual figure.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

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)

Le motif du langage visuel, qui traverse l'ensemble de l'oeuvre de Berkeley, n'est pas seulement le noyau de sa philosophie de la perception. Il est aussi le préréquisit d'une preuve originale de l'existence de Dieu, une évaluation spécifique de la nature de l'expérience commune et de la portée de l'explication scientifique, et il a des conséquences singulières quant à la doctrine de la création du monde. La première conclusion de l'article est qu'en dépit du rejet berkeleyen du mécanisme, on peut (...) avec raison comparer sa pensée avec la conception cybernétique des machines à information; le langage visuel est, dans une certaine mesure, la source d'un réseau global de communication. Mais rien n'est plus important pour Berkeley que la question de la mort, et c'est pourquoi il doit rejeter toute forme d'objectivisme. L'immatérialiste est celui qui affirme que le monde ne peut pas survivre à son propre anéantissement sans l'aide d'un autre esprit, dont la vision est la substance même de toute chose. The design of visual language, which pervades the entire work of Berkeley, is not only the core of his philosophy of perception. It is also the prerequisite of an original proof of God's existence, a specific understanding of both the nature of common experience and the scope of scientific explanation, and it involves unusual consequences upon the doctrine of the creation of the world. The first conclusion of the paper is that, despite Berkeley's rejection of mechanicism, we have a right to confront his views with the cybernetic perspective on information processing machines : visual language is, to a certain extent, the source of a global communication network. But there is nothing more important to Berkeley than the topical question of death, and this is why he is compelled to rejecting whatever kind of objectivism. The immaterialist is he who acknowledges that the world cannot survive his own annihilation without the help of another spirit, whose vision is the very substance of all things. (shrink)