Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, (...) he advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination. Saam Trivedi is Associate Professor of Philosophy at Brooklyn College, City University of New York. (shrink)

Where should computer simulations be located on the ‘usual methodological map’ which distinguishes experiment from theory? Specifically, do simulations ultimately qualify as experiments or as thought experiments? Ever since Galison raised that question, a passionate debate has developed, pushing many issues to the forefront of discussions concerning the epistemology and methodology of computer simulation. This review article illuminates the positions in that debate, evaluates the discourse and gives an outlook on questions that have not yet been addressed.

This unique volume introduces and discusses the methods of validating computer simulations in scientific research. The core concepts, strategies, and techniques of validation are explained by an international team of pre-eminent authorities, drawing on expertise from various fields ranging from engineering and the physical sciences to the social sciences and history. The work also offers new and original philosophical perspectives on the validation of simulations. Topics and features: introduces the fundamental concepts and principles related to the validation of computer simulations, (...) and examines philosophical frameworks for thinking about validation; provides an overview of the various strategies and techniques available for validating simulations, as well as the preparatory steps that have to be taken prior to validation; describes commonly used reference points and mathematical frameworks applicable to simulation validation; reviews the legal prescriptions, and the administrative and procedural activities related to simulation validation; presents examples of best practice that demonstrate how methods of validation are applied in various disciplines and with different types of simulation models; covers important practical challenges faced by simulation scientists when applying validation methods and techniques; offers a selection of general philosophical reflections that explore the significance of validation from a broader perspective. This truly interdisciplinary handbook will appeal to a broad audience, from professional scientists spanning all natural and social sciences, to young scholars new to research with computer simulations. Philosophers of science, and methodologists seeking to increase their understanding of simulation validation, will also find much to benefit from in the text. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 108-112 [Access article in PDF] Themes in the Philosophy of Music, by Stephen Davies. New York: Oxford University Press, 2003, 283 pp., hardcover. Over the last few decades, there has been a remarkable output of several books and articles on the philosophy of music. Stephen Davies is one of the leading contributors to this growing literature in the Philosophy of Music. This (...) important and thought-provoking volume collects fifteen of Davies's essays on various philosophical issues pertaining to music such as ontology, performance, expression, and appreciation. With the exception of two, all of the essays have been published before. There is not enough space here to do justice to all fifteen essays, and thus I focus on those that strike me as most important and where I disagree with Davies.First a word about the book's relevance to aesthetic education and itspotential for use in aesthetic education. Davies's book strikes me as having immense potential for aesthetic education. I can easily see the various essays as being of great value in educating performers, composers, musicologists, and music lovers about various aspects of performance and appreciation especially. Here is a brief list of questions pertinent to aesthetic education that Davies's work raises and addresses: Why is performance on authentic instruments important? What is involved in understanding musical works? Is technical training necessary to appreciate musical works fully? To what degree can the performer create her own interpretation of a work, and how much does the score constrain her?Now on to the essays themselves. The first part of Davies's volume concerns ontology, and the first essay "John Cage's 4'33": Is it Music?" addresses this very famous musical work. Davies argues that 4'33" is not music but rather a theatrical piece about music because it does not exclude anysounds as being ambient noise, as Davies thinks musical works should do. Davies does not deny, however, that this work is an artwork. He thinks instead that the work is not organized sound, as all music must be, for it does not exclude any sonic events during performance as ambient; even sounds made by the performer of this work, claims Davies, are mistakes and not ambient. Thus neither Cage nor the performer organize (select, appropriate) sounds. Davies also suggests that while Cage wants us to have an aesthetic interest in the sonic properties of 4'33," he failed in his intention for we hear the work instead in musico-historical terms.Contrary to Davies's view, one mustwonder if 4'33" just is a theatrical piece about music, not a musical work as such. Unlike theater and theatrical works which are meant to be both seen and heard, Cage's work is only meant to be heard. Davies's view would seem to neglect this important auditory aspect in claiming that the work is just theater not music. Besides, why must all musical works exclude some soundsas ambient, and why might Cage's [End Page 108] work not be an exception to this? Why couldn't 4'33" be a limiting case of music, at one extreme of a range of musical works? As for Davies's claim that any sounds made by the performer who is supposed to be silent are mistakes not ambient noise, one must wonder if Cage intended instead that sounds made by the performer (such as musical tones or coughs) be bracketed by listeners as not part of the work while sounds made by the audience are part of the work, thus undermining the audience-performer distinction. Moreover, against Davies's claim that Cage intended us to have an aesthetic interest in sonic properties, I submit that Cage was Zen-influenced and not committed to such dualisticaesthetic concepts (such as beautiful vs. ugly) or any concepts for that matter, whether musico-historical or not. Instead, Cage intended us to simplylisten, with an open mind and openears, without adhering rigidly to concepts or hearing 4'33" in musico-historical terms, difficult as that may be. Finally, there... (shrink)

I criticize Julian Dodd's Platonist conception of musical works as discovered eternal types, and defend and elaborate upon Jerrold Levinson's conception of musical works as creatable indicated types. I raise broadly three sorts of worries for Dodd. First, I argue that Dodd conflates types with Platonist universals in claiming that types are eternal and discovered. Secondly, I raise worries for Dodd's Platonist claim that musical works are discovered not created. Here I argue that Dodd's claim goes against our current musical (...) practice. I then argue that Dodd's view leads to a false divide across the arts, and defend this claim from Dodd's criticisms. I also defend the claim that Dodd's view robs artists of the special status we give to them as creators, not merely creative discoverers. I suggest also that musical works can not only be created but can also plausibly cease to exist, which Dodd's Platonism would seem to deny. Thirdly and finally, I defend the conception of musical works as indicated types from Dodd's criticisms. Here I argue that Dodd's view is ontologically profligate. I also submit that Dodd is mistaken in thinking that indicated types have times as their constituents and thus must be events. (shrink)

Over the last several years, there has been a growing controversy about whether Yogacara Buddhism can be said to be idealist in some sense, as used to be commonly thought by earlier scholars. In this paper, I first clarify the different senses of idealism that might be pertinent to the debate. I then focus on some of the works of Vasubandhu, limiting myself to his Vimsatika, Trimsika, and Trisvabhavanirdesa. I argue that classical Yogacara Buddhism, at least as found in these (...) works of Vasubandhu, is closer to epistemic rather than metaphysical idealism or absolute idealism, as I understand these. However, there are undoubtedly some important differences between Vasubandhu's Yogacara and Western epistemic idealism that cast doubt on the idea that Yogacara is simply to be lumped together with Western epistemic idealism. (shrink)

In this article, I assume that musical works are abstract types, and I raise and address a new question concerning musical ontology that may take the types view at least a step further: When do musical works cease to exist? I then propound my view about musical works as types, which is somewhat like the Aristotelian Realist position concerning universals. Next, I address some objections to that view. Finally, I provide some grounds for rejecting alternative views that see Western classical (...) musical works before 1950 (the sorts of musical works the discussion here is restricted to) either as classes or else as kinds. (shrink)

»Freiheit« findet als politisch-rechtliche Leitidee der Moderne weitreichende Zustimmung. Bei näherem Hinsehen zeigen sich gleichwohl höchst unterschiedliche Deutungen und Akzentuierungen. Darüber hinaus ist der Freiheitsbegriff semantischen Umkehrungen ausgesetzt, die sogar darauf hinauslaufen können, faktische Unfreiheit als höchste Freiheit auszugeben. Die interdisziplinären Beiträge sprechen sich für ein anspruchsvolles Freiheitsverständnis aus und legen ihr Augenmerk nicht zuletzt auf die relationale Dimension von Freiheitspraxen.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 38-52 [Access article in PDF] Artist-Audience Communication: Tolstoy Reclaimed Saam Trivedi Whoever is really conversant with art recognizes in [Tolstoy's What is Art?] the voice of the master.1There has to be some presumption that, as one of the greatest artists who ever lived, Tolstoy might actually have known what he was talking about.2It is widely accepted in contemporary Anglo-American aesthetics that, (...) despite Tolstoy's own literary achievements, his "moralism" about art is a view without much merit. For the most part, I concur with this current consensus about Tolstoy. However, despite the many flaws in his view, I think Tolstoy was on to something, after all. In particular, I believe a concept of artist-audience communication similar to what Tolstoy had in mind can be fleshed out so as to avoid the problems that Tolstoy ran into, while reclaiming the insights in his view.3In what follows, I begin by suggesting briefly that recognizing a quasi-Tolstoyan concept of artist-audience communication may have important implications for how we should approach artworks, and thus also for aesthetic education. Next, I spell out this concept. I then offer trenchant criticisms of Tolstoy's view. Finally, I point out affinities between Tolstoy's concept and mine, while also distinguishing my concept of artist-audience communication from Tolstoy's concept of artistic communication. It will emerge, I hope, that while I disagree more than agree with Tolstoy, the issues where I agree with him may be more significant. Artist-Audience Communication I begin by discussing briefly how talk of a quasi-Tolstoyan artist-audience communication bears relevance for how we should approach artworks, and thus has relevance for aesthetic education. If I am right, then in approaching [End Page 38] and experiencing artworks, we should seek a correct experiential understanding of them that is shared between the artist and audience, and between ourselves and other members of the audience. This does not meanthat we seek what the artist did intend in creating the artwork, as actual intentionalism would have us do. Rather, as members of a competent audience, we should first analyze what a given artwork means by attending to the work itself.4 This includes the broad art-historical context of production (including the period, style, category, or genre of the work; the artist's public persona; the oeuvre of the artist; works by the artist's contemporaries; the social, cultural, and political milieu of the artist; and so on) and the public conventions that apply to it. In cases of irony, satire, and allusion, we may also need to broaden the context and appeal to artistic intentions. Then we should attribute this "work-meaning" to the historical artist as part of what she or he could have intended, so long as this was historically possible. If this historically possible work-meaning coincides with what she or he did intend in that artistic intentions are successfully realized in the work, then we have a real sharing of a correct, experiential understanding of the work between artist and audience, and thus real communication between them in the sense of artist-audience communication explained above. On the other hand, if what the artist did intend is not realized in the work and thus does not coincide with work-meaning as part of what she or he could have intended, then we still have at least a minimal, hypothetical sharing and communication insofar as our correct, experiential understanding of the work is shared with what the artist could have intended.This bears relevance for aesthetic education, assuming one of the purposes of aesthetic education is to teach children and other newcomers to art how to appreciate artworks.5 In teaching people how to appreciate artworks, I suggest we emphasize the shared, communicative aspects of the experience of artworks when they are understood more or less correctly. We should tell them that they should seek to communicate with the artist via the artwork, trying to understand the artwork correctly in the very experience of the... (shrink)

In the present work, I attempt to address the issue of what it means to say that art is a form of communication, that many works of art communicate to us, and that many avant-garde artworks do not communicate to us. These are claim often made by those who are appropriately backgrounded in the arts, and often even by laypersons. ;I focus largely on music and claim that artistic communication is important though not essential to be an artwork, and to (...) be valuable as such. At least four different concepts or senses of artistic communication are identified: artistic communication of messages, artistic communication of information, artistic communication of mental states, and artist-audience communication. A work of art may communicate in one or the other of these senses without necessarily communicating in all of these senses. ;It is also claimed that these different concepts of artistic communication have humanistic, cognitive and other values. At the same time, I reject the view that art should be seen as some sort of language, and that artistic communication should be explicated in terms of art being some sort of language. ;Within the broad framework of artistic communication, I also deal with some central issues in philosophical aesthetics, as well as some issues outside aesthetics, and often offer my own views on these in the light of what others have said. These issues include the role of the artist's intentions in interpreting artworks, artistic expressiveness, the values of art, the allegedly non-communicative and alienating effect of avant-garde art, Tolstoy's theory of artistic communication, and art's contributing to our self-understanding. Other issues discussed include the nature of metaphors and the question of their paraphraseability, and the nature of emotions, moods and feelings. (shrink)

To provide an introduction to this book, we explain the motivation to publish this volume, state its main goal, characterize its intended readership, and give an overview of its content. To this purpose, we briefly summarize each chapter and put it in the context of the whole volume. We also take the opportunity to stress connections between the chapters. We conclude with a brief outlook.The main motivation to publish this volume was the diagnosis that the validation of computer simulation needs (...) more attention in practice and in theory. The aim of this volume is to improve our understanding of validation. To this purpose, computer scientists, mathematicians, working scientists from various fields, as well as philosophers of science join efforts. They explain basic notions and principles of validation, embed validation in philosophical frameworks such as Bayesian epistemology, detail the steps needed during validation, provide best practice examples, reflect upon challenges to validation, and put validation in a broader perspective. As we suggest in our outlook, the validation of computer simulations will remain an important research topic that needs cross- and interdisciplinary efforts. A key issue is whether, and if so, how very rigorous approaches to validation that have proven useful in, e.g., engineering can be extended to other disciplines. (shrink)

In this paper, we introduce the notion of single-valued neutrosophic soft uniform spaces as a view point of the entourage approach. We investigate the relationship among single-valued neutrosophic soft uniformities, single-valued neutrosophic soft topologies and single-valued neutrosophic soft interior operators. Also, we study several single-valued neutrosophic soft topologies induced by a single-valued neutrosophic soft uniform space.

Sustainability reports are a crucial instrument to inform outside stakeholders not only about a company's sustainability performance but also to manage impressions. However, they are often prone to greenwashing and the reporting of negative topics can jeopardize corporate legitimacy. Therefore, this paper aims to analyze reporting quality and how grocery retailing companies deal with this challenge of reporting the true picture. The empirical material is taken from the latest sustainability reports and information available on the Internet for two major German (...) supermarkets, six grocery discount retailers, and two organic supermarkets. The Global Reporting Initiative standards are used to assess and compare the extent of information disclosure. A qualitative content analysis is applied to identify negative disclosure aspects and their legitimation. While the main focus areas (supply chain, employees, environment/climate, and society) are similar for the companies, different levels of reporting quality appeared. Negative information is rarely reported and “abstraction” and “indicating facts” are the dominant legitimation strategies. (shrink)

Although Avicenna does not explicitly develop a ‘theory of intentionality', one can reconstruct his account of intentionality through an analysis of his thoughts on the relation between mind, meaning, and thing. We take up this task in this paper through an analysis of Avicenna's theory of the considerations of quiddity. First, we clarify Avicenna's idea of ‘quiddity', and show how it functions as a core of ‘meaning' which remains identical in its different modes of realization. Second, through an examination of (...) the very notion of ‘consideration' (i‘tibār), we distinguish between two aspects of the mind, i.e. mental act and mental existence. This helps us clarify what Avicenna means by the existence of a quiddity in mind and in what sense, if any, it is essential to intentionality. Third, addressing the problem of the relation between ‘mental existence' and ‘external existence’, we show how the mode of existence of a quiddity, including its concrete existence, is posited in and through intentionality. This implies that both being and quiddity are moments of the intentional object, and thus, intentionality, for Avicenna, is a dyadic relation between the intentional act and the intentional object. We conclude by reconstructing the structure of intentionality in Avicenna. (shrink)

The problem of finding optimal sampling schemes has been resolved in two models. The novelty of this study lies in its cost efficiency, specifically, for the applied problems with expensive sampling process. In discussed models, we show that some observations counteract other ones in prediction mechanism. The autocovariance function of underlying process causes mentioned result. Our interesting result is that, although removing neutralizing observations convert sampling scheme to nonredundant case, it causes to worse prediction. A simulation study confirms this matter, (...) too. (shrink)

Editorial expression of concern: The editor and publisher express a note of concern regarding this article ‘ ‘Islamic Culture’ textbook content and religious needs of literacy students’, by Mohsen Dibaei Saber, Soolmaz Nourabadi, Ammar Abdel Amir Al-Salami, Harikumar Pallathadka, Sarvar Inatullaevich Nazarkosimov, Hoang Viet Linh, Forqan Ali Hussein Al-Khafaji, Iskandar Muda. An investigation is underway regarding the authorship of this article.

Data mining’s primary clustering method has several uses, including gene analysis. A set of unlabeled data is divided into clusters using data features in a clustering study, which is an unsupervised learning problem. Data in a cluster are more comparable to one another than to those in other groups. However, the number of clusters has a direct impact on how well the K-means algorithm performs. In order to find the best solutions for these real-world optimization issues, it is necessary to (...) use techniques that properly explore the search spaces. In this research, an enhancement of K-means clustering is proposed by applying an equilibrium optimization approach. The suggested approach adjusts the number of clusters while simultaneously choosing the best attributes to find the optimal answer. The findings establish the usefulness of the suggested method in comparison to existing algorithms in terms of intra-cluster distances and Rand index based on five datasets. Through the results shown and a comparison of the proposed method with the rest of the traditional methods, it was found that the proposal is better in terms of the internal dimension of the elements within the same cluster, as well as the Rand index. In conclusion, the suggested technique can be successfully employed for data clustering and can offer significant support. (shrink)

We give in this paper a short semantical proof of the strong normalization for full propositional classical natural deduction. This proof is an adaptation of reducibility candidates introduced by J.-Y. Girard and simplified to the classical case by M. Parigot.

In this paper, we define a realizability semantics for the simply typed $lambdamu$-calculus. We show that if a term is typable, then it inhabits the interpretation of its type. This result serves to give characterizations of the computational behavior of some closed typed terms. We also prove a completeness result of our realizability semantics using a particular term model.

In this paper, we present the -calculus which at the typed level corresponds to the full classical propositional natural deduction system. The Church–Rosser property of this system is proved using the standardisation and the finiteness developments theorem. We also define the leftmost reduction and prove that it is a winning strategy.

This article critiques Husserl’s idea of grounding through an exploration of his notion of the lifeworld. First, it sketches different senses of the lifeworld in the Crisis and explains in what sense it is taken to be a universal foundation of all sense-formation. Second, it criticizes Husserl’s idea of grounding and shows that it fails because the alleged foundation—namely, the lifeworld as a perceptual world, or rather lifeworldly experience as perception—is inadequately determined. Perception cannot function as a universal foundation because (...) it is always already interpretation. “The groundlessness of sense” means that the process of sense-formation can in no way rest upon an ultimate ground because contingent presuppositions and historical circumstances influence it from the very beginning. The paper concludes by discussing the consequence of this view for the relation between philosophy and sciences. (shrink)