The aims of this paper are twofold. First, I offer a new insight into Shepherd’s theory of mind by demonstrating that she distinguishes a threefold ‘Variety of Intellect’, that is, three kinds of minds grouped according to their cognitive limitations. Following Shepherd, I call them (i) minds afflicted with idiocy, (ii) inferior understandings, and (iii) sound understandings. Second, I show how Shepherd’s distinction informs her theory of education. While Shepherd claims that her views serve to improve educational (...) practices, she does not explain how her threefold ‘Variety of intellect’ does so. I argue that Shepherd’s distinction contributes to her aim by providing pedagogues with a more comprehensive grasp of the various cognitive limitations of the people in their care. This allows the former to adjust their expectations and to provide need-oriented guidance. (shrink)

It is well known that the nature of consciousness is elusive, and that attempts to understand it generate problems in metaphysics, philosophy of mind, psychology, and neuroscience. Less appreciated are the important – even if still elusive – connections between consciousness and issues in ethics. In this chapter we consider three such connections. First, we consider the relevance of consciousness for questions surrounding an entity’s moral status. Second, we consider the relevance of consciousness for questions surrounding moral responsibility for action. (...) Third, we consider the relevance of consciousness for the acquisition of moral knowledge. (shrink)

To a first approximation, ‘bodily skill’ refers to the capacity to successfully utilize the body in the world to achieve goals. But the body is complex, and bodily skill manifests in many different ways. Further, work on bodily skill spans the philosophy of mind, action, and cognitive science, as well as the sciences of motor control and perception. This chapter aims to provide an overview of recent themes and key ideas. First, we review work on the nature of skill as (...) such. Second, we discuss ways theorists have discussed the implementation of skill in the human body, and a theoretical difficulty associated with explanations of implementation. Third, we discuss the importance of the idea of a hierarchical representational architecture for understanding skill’s implementation, and various ways this architecture can be made more sophisticated. Fourth, we discuss work that attempts to understand skill execution on-the-fly, and in particular, work that attempts to understand the connection between intentions and motor representations, and the connection between implicit sensorimotor adaptation and explicit planning and executive control. Fifth, we discuss work on the models that assist fine-grained skill execution, as well as the idea that even at rapid, fine-grained motoric levels, one finds intelligent systems and mechanisms supporting skill. Finally, we consider the place of bodily awareness in an account of bodily skill. (shrink)

Ann Margaret Sharp, American philosopher of education, believed that friends could, in fact, be quite critical of one another. Writing in her essay, “What is a Community of Inquiry,” she states,... but children know that the group has taken on a great significance for them: each one’s happiness means as much to each of them as their own. They truly care for each other as persons, and this care enables them to converse in ways they never have before. They can (...) engage in inquiry without fear of rebuff or humiliation. They can try out ideas that they never would have thought of expressing before just to see what happens.I am grateful to the friends of Sharp who spent time in pursuit of understanding her work and its... (shrink)

The extensive involvement of nonconscious processes in human behaviour has led some to suggest that consciousness is much less important for the control of action than we might think. In this article I push against this trend, developing an understanding of conscious control that is sensitive to our best models of overt action control. Further, I assess the cogency of various zombie challenges—challenges that seek to demote the importance of conscious control for human agency. I argue that though nonconscious contributions (...) to action control are evidently robust, these challenges are overblown. (shrink)

It seems obvious that phenomenally conscious experience is something of great value, and that this value maps onto a range of important ethical issues. For example, claims about the value of life for those in a permanent vegetative state, debates about treatment and study of disorders of consciousness, controversies about end-of-life care for those with advanced dementia, and arguments about the moral status of embryos, fetuses, and non-human animals arguably turn on the moral significance of various facts about consciousness. However, (...) though work has been done on the moral significance of elements of consciousness, such as pain and pleasure, little explicit attention has been devoted to the ethical significance of consciousness. In this book Joshua Shepherd presents a systematic account of the value present within conscious experience. This account emphasizes not only the nature of consciousness, but the importance of items within experience such as affect, valence, and the complex overall shape of particular valuable experiences. Shepherd also relates this account to difficult cases involving non-humans and those with disorders of consciousness, arguing that the value of consciousness influences and partially explains the degree of moral status a being possesses, without fully determining it. The upshot is a deeper understanding of both the moral importance of phenomenal consciousness and its relations to moral status. This book will be of great interest to philosophers and students of ethics, bioethics, philosophy of psychology, philosophy of mind and cognitive science. (shrink)

Reductive intellectualists about knowledge-how hold, contra Ryle, that knowing how to do something is just a kind of propositional knowledge. In a similar vein, traditional reductivists about understanding-why insist, in accordance with a tradition beginning with Aristotle, that the epistemic standing one attains when one understands why something is so is itself just a kind of propositional knowledge—viz., propositional knowledge of causes. A point that has been granted on both sides of these debates is that if these reductive proposals are (...) right, then knowledge-how and understanding-why should be susceptible to the same extent as knowledge-that is to being undermined by epistemic luck. This paper reports experimental results that test these luck-based predictions. Interestingly, these results suggest a striking positive correlation between self-reported philosophical expertise and attributions of knowledge-how, understanding-why and knowledge-that which run contrary to reductive proposals. We contextualize these results by showing how they align very well with a particular kind of overarching non-reductive proposal, one that two of the authors have defended elsewhere according to which knowledge-how and understanding-why, but not knowledge-that, essentially involve cognitive achievement. We conclude by situating the interpretive narrative advanced within contemporary discussions about the role of expertise in philosophical judgment. (shrink)

ObjectiveTo examine health and social care professionals’ understanding of the legislation governing research involving adults lacking mental capacity in England and Wales.MethodsA cross-sectional online survey was conducted using a series of vignettes. Participants were asked to select the legally authorised decision-maker in each scenario and provide supporting reasons. Responses were compared with existing legal frameworks and analysed according to their level of concordance.ResultsOne hundred and twenty-seven professionals participated. Levels of discordance between responses and the legal frameworks were high across all (...) five scenarios. Nearly half of the participants provided responses that were discordant in all scenarios. Only two participants provided concordant responses across all five scenarios.DiscussionParticipants demonstrated a lack of knowledge about the legal frameworks, the locus of authority and the legal basis for decision-making. The findings raise concern about the accessibility of research for those who lack capacity, the ability to conduct research involving such groups and the impact on the evidence base for their care.ConclusionThis is the first study to examine health and social care professionals’ knowledge and understanding of the dual legal frameworks in the UK. Health and social care professionals’ understanding and attitudes towards research involving adults with incapacity may warrant further in-depth exploration. The findings from this survey suggest that greater training and education is required. (shrink)

The flow construct has been influential within positive psychology, sport psychology, the science of consciousness, the philosophy of agency, and popular culture. In spite of its longstanding influence, it remains unclear [a] how the constituents of the flow state ‘hang together’—how they relate to each other causally and functionally—[b] in what sense flow is an ‘optimal experience,’ and [c] how best to describe the unique phenomenology of the flow state. As a result, difficulties persist for a clear understanding of the (...) flow state’s structure and function. After explicating the standard view of the flow construct, I articulate several basic questions regarding its nature and functional roles, and I argue that these questions are best answered by integrating flow within broader streams of research on the dynamics of thought, on cognitive control resource allocation, and on creative thought. (shrink)

The power to exercise control is a crucial feature of agency. Necessarily, if S cannot exercise some degree of control over anything - any state of affairs, event, process, object, or whatever - S is not an agent. If S is not an agent, S cannot act intentionally, responsibly, or rationally, nor can S possess or exercise free will. In my dissertation I reflect on the nature of control, and on the roles consciousness plays in its exercise. I first consider (...) the fragmented state of philosophical and empirical work on control. I argue that a mature philosophy of agency stands in need of a detailed personal-level account of control, and I begin by explicating a notion I call intentional control. On this explication, an agent J exercises intentional control in service of an intention X to the degree that behavior of J's for which X plays a (non-deviant) causal role approximates the representational content of X. With this explication in hand, I offer analyses of theoretically salient points along a degreed spectrum (covering, e.g., the exercise of minimal, successful, and perfect intentional control). Next, I develop an account of the degrees of intentional control's possession. This involves elucidation of ingredients of intentional control, i.e. those features of agents and environments that constitute an agent's causal potency and skill. It turns out that an agent's possession of control regarding an intention is intimately tied to her ability to repeatedly execute that intention across some specified (hypothetical) set of scenarios. Finally, I discuss a number of potentially fruitful applications of the account. In chapter three I confront a strong intuition, persistent in both philosophy and cognitive science, that consciousness is somehow intimately involved in the exercise of control. In this connection recent empirical work indicates the causal powers of consciousness remain poorly understood. I argue that Functional Agnosticism - the view that any claim regarding a function of consciousness for behavior is currently underdetermined by the data - is the wisest position on the causal powers of consciousness. Recognition of this unsatisfying state of affairs motivates reflection on what might enable progress beyond it. I argue that establishing a causal function for consciousness is facilitated by clarity on several issues. First, what is the sense of consciousness at issue? I isolate state consciousness, discuss the potential relevance of various types of conscious states, and distinguish between ambitious and modest approaches to the causal powers of state consciousness. In short, ambitious approaches seek to understand the causal contributions of a conscious mental state in virtue of the fact that the state is conscious; modest approaches seek to understand the causal contributions of conscious mental states, full stop. I argue that for various theoretical purposes, both approaches can be useful. Second, what is the sense of control at issue? I argue that for many important theoretical purposes, intentional control is the relevant sense. Finally, I illustrate the usefulness of clarity on these issues by examining recent work on the roles of conscious and unconscious vision for action. This work suggests that some important subset of our overt action is controlled by non-conscious processes. I apply insights developed earlier, noting common mistakes made in this literature, and highlighting important empirical possibilities these mistakes obscure. In later chapters I develop a novel account of conscious control. In chapter four I develop a central part of the account, which involves a view on the intentional structure of conscious trying. The leading view entails that conscious trying possesses a descriptive (or thetic) structure. Based on relevant empirical work concerning deafferented and paralyzed patients, I argue for the view that conscious trying is (at least) partially constituted by directive (or telic) structure. Finally, I argue that the exercise of conscious control is best understood as an exercise of intentional control for which the experience of trying plays a constitutive role. After presenting arguments for this view and defending the view against objections, I discuss the importance of conscious control for a mature philosophy of mind and agency. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical ExperienceDavid BakerHarold E. Fiske, Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience. (Lewiston, New York: Edwin Mellen Press, 2008).Building on several earlier publications on music and the mind (1990, 1993, 1996, 2004), Harold Fiske offers Understanding Musical Understanding. This is a well-referenced piece that outlines the thinking of various authors (for example, Crowder, (...) 19931; Huron, 2006;2 Snyder, 20073). Furthermore, as Fiske meticulously constructs his case, it draws in psychologists such as Carl Seashore and philosophers like Aristotle, Hegel, Kant, and Schopenhauer. All this suggests an author of great expertise and wide appeal.Fiske begins to build his argument by discussing musical cognition in terms of ‘time’ (Chapter 2) and ‘shape’ (Chapter 3) returning to these themes in greater detail in Chapter 6. It may seem axiomatic that music is perceived structurally and through time. Yet, as the author mentions, the capacity for someone to designate musical form is no way in which to illustrate systematically the workings of musical understanding. This happens swiftly and unceasingly in the course of a person’s musical encounter. It is commonplace, too, for musicians and listeners to allude to visual imagery and shape when describing music (for example, ‘high [End Page 204] and low pitches,’ ‘a texture that is dense or thin,’ or ‘an angular melody’). Fiske contributes a plausible explanation of musical shape:... the perceived shape of music can only be the outcome of a construction (not reconstruction or ‘copy’) calculated on the part of the neural network mechanisms… The ‘reality’ of a musical-auditory image is likely a result of imposing a three-dimensioned visual perspective on an inherently unstructured (invisible, tasteless, intangible, and otherwise unknowable) transitory experience. This is the only means the brain has for making sense of a sound event. What it seems to do is: identify relevant cues, piece the cues together into patterns that can be retained (in the echoic memory) long enough for brain mechanisms to examine and create the sense that we can ‘look’ at music by invoking principles borrowed from vision, and then creating the impression of an auditory ‘object.’ The ‘object’ seems complete and multidimensioned but is, however, only remotely related to what we hear during the slit-like limitations of the perceptual ‘now.’(p. 56).Nonetheless, the manner in which we communicate musical perception with terms borrowed from vision does not inconclusively evidence the same mechanisms of human thought on receiving visual or, on the other hand, musical stimuli. Use of such language may only represent an opportune mode of expressing phenomena to which we have no dedicated vocabulary. Fiske argues that musical understanding is part of the human organism’s genetically-inherited capacity to construe (rapidly invent) patterns from sonic stimuli thus making sense of temporal experience. This process, he argues, is part of the brain’s facility to determine quickly the source, kind and meaning of stimuli for the organism’s immediate safety and survival; the mental processes involved are regulated by ‘brain time’ as opposed to ‘clock time.’ Brain time is “... a rapid, micro-temporal, flexible-variable scheme...” (p. 8) in contrast to pre- and externally-determined ‘clock time.’Musical memory is addressed in Chapter 4 in tandem with ‘pattern constructs.’ Pattern constructs, Fiske explains, are ‘chunks’ of learned musical experience encoded in ‘brain time’ as multi-dimensional, unidirectional entities (p. 63). There is evidence of the ‘inner replay’ of learned events such as these.4 Incoming musical information is perceived, though, according to the listener’s cognitive context, and perhaps retroactively linked for ‘best fit’ rather than being ‘measured’ against fixed expectations and pre-established contextual information, say, about genre. The degree of ‘best fit’ either confirms or modifies assumed context. An important point Fiske makes, then, is that “... a misfit... between incoming information and the presumed context” evidences learning (p. 84).5 Since a ‘misfit’ triggers modifications to the cognitive context by which a person discerns music, it enriches his or her musical knowledge and understanding. [End Page 205] Consequently, Fiske sets a challenge for music education: “... how [do we] design teaching... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Sounds and Silences:Acknowledging Political EngagementJulia Eklund KozaThis symposium grapples with such questions as "Should music educators participate in political understandings?" The term "politics" often brings to mind "Big P" political matters, including citizenship, governance of the state, the election of officials, and the formation of public policy. Another way of thinking about politics is to associate it with power relations in social interactions of any kind. If one (...) thinks about it in the second way, then wherever there are two or more people, there are politics. Questions such as "Should we participate in politics?" and "How engaged should we be?" become meaningless. Michel Foucault's discussions of the pastoral forms of governance employed by the modern state, specifically the uses of technologies of the self, challenged long-held views about relationships between the individual and the state. In particular, his claim that major dominations are the effects, not the causes, of myriad local and particular mobilizations of power provides a rationale for examining these local mobilizations.1 If major dominations and "Big P" politics are the effects of local mobilizations, then everyone participating in social interactions participates in "Big P" politics, as well.This more global conception of political engagement stands in sharp contrast to a narrower one, which can be described using a "swimmer-on the-shore" metaphor. The swimmer stands on a beach looking out at the sea and decides whether this is a day for a toe dip, wading to the knees, total immersion, or staying out of the water altogether. The swimmer can choose to stay dry (unless inundated by the tide or a tidal wave). This conception is evident in a comment reportedly made by a music education professor in response to two back-to-back annual meetings of the music education researchers at Committee on Institutional Cooperation (CIC) institutions. Both meetings had been devoted to critique of MENC's policies and practices, and the disgruntled professor reportedly remarked, "That's enough about politics; let's get back to talking about music." In his view, which is shaped by the "swimmer" conception, some discussions are political, others are not; while some curricular areas, such as civics and sex education, are political, music is not, nor should it be. If, however, we assume that there is power in all social relations, then the "swimmer" conception has no salience because everyone is immersed; music, because it is a social activity, is political. Its engagement in politics is neither good nor bad, in and of itself; rather, it is inevitable. [End Page 168]Some may concede that although it is not possible to be disengaged, it is necessary and good for scholars and teachers to be politically "neutral." Conceptions of neutrality rely on a one-dimensional linear integers model of political engagement. On the line representing the integers, there is a plus side, a minus side, and zero, the zero presumably being the point of neutrality. People and views associated with the far ends of the line are extreme, while those closer to the zero point are moderate. In addition, positions on the line are assigned a moral value; depending upon the issue and the perspective from which the line is being viewed, plus can be good but minus is bad, plus can be bad but minus is good, neutral can be good, or neutral can be bad. If every issue and every social relation is political, however, and if we assume that people and relationships change, then the linear integers model is inadequate because it fails to embody the dynamic, multi-dimensional character of the complex social relations in which all of us engage. Another problem with the linear integers model is that it fails to interrogate the power vested in whomever or whatever decides what will constitute extreme, moderate, or neutral—what will be deemed reasonable and what outrageous. Sometimes this responsibility has been assigned to a fictitious "reasonable" person without much thought having been given to the political dimensions of the construction of reasoning. What is deemed outrageous in one system of reasoning may be perfectly reasonable in another.Belief that education can and should be objective and neutral comes from... (shrink)

This is the first modern edition of the works of Lady Mary Shepherd, one of the most important women philosophers of the early modern period. Shepherd has been widely neglected in the history of philosophy, but her work engaged with the dominant philosophers of the time - among them Hume, Berkeley, and Reid. In particular, her 1827 volume Essays on the Perception of an External Universe outlines a theory of causation, perception, and knowledge which Shepherd presents as an alternative to (...) what she sees as the mistaken views of Berkeley and Hume. What she ultimately presents is an original and systematic metaphysics and epistemology. Shepherd's Essays consists of two parts. The first is a theory of perception and knowledge of the external world, which is designed to rebut idealism and skepticism about the external world and show that our ordinary beliefs are based on reason. The second is a collection of essays on topics in metaphysics and epistemology, including the immateriality and eternity of the mind, the relationship between mind and body, the possibility of miracles, the association of ideas, the relationship between physical and mathematical reasoning, and the epistemology of testimony. Antonia LoLordo's edition of Shepherd's Essays includes scholarly notes throughout the text that provide historical and philosophical context and expand on the major concepts of Shepherd's system. Her extensive introduction to Shepherd's life and works surveys some of the major points of Shepherd's system, points out directions for future research, and offers guidance for readers planning to teach her work in their courses. This volume is an invaluable primary resource for scholars, graduate students, and undergraduates interested in metaphysics, epistemology, and early modern philosophy. (shrink)

Medical councils increasingly require graduates to understand law and to practise medicine mindful of the legal rules. In the UK a revised curriculum for medical law and ethics has been published. However, coverage of law in medical education remains variable and doubts exist about how far students acquire legal knowledge and skills in its implementation. This survey of students in two UK medical schools measured their law learning and their confidence in using this knowledge. Concept maps and a self-audit questionnaire (...) were used to capture students' understanding and perceptions of this knowledge domain and self-assessments of their legal knowledge and skills. A large sample was achieved across first, second and final year students. Students agree that a sound understanding of law is essential to being a good doctor. Their perceptions of law are generally positive but the interface between the legal rules and codes of medical ethics creates difficulty. In some areas students offer relatively confident self-assessments of their legal knowledge and skills for practising law. However, levels of confidence in other areas of their law learning raise doubts about the degree to which they can advocate for and protect their patients. Conclusions are drawn about the effectiveness of students' law learning and recommendations made for further research. (shrink)

The discipline area of physical education has historically struggled for legitimacy, sometimes being seen as a non-serious pursuit in educational terms compared to other subjects within the school curriculum. This book represents the first attempt in nearly 30 years to offer a coherent philosophical defence and conceptualisation of physical education and sport as subjects of educational value, and to provide a philosophically sound justification for their inclusion in the curriculum. The book argues that rather than relegating the body to (...) ‘un-thinking’ learning, a person’s essential being is not confined to their rationality but involves an embodied dimension. It traces the changing conceptions of the body, in philosophy and theology, that have influenced our understanding of physical education and sport, and investigates the important role that embodiment and movement play in learning about, through and in physical education. Physical education is defended as a vital and necessary part of education because the whole person goes to school, not just the mind, but the thinking, feeling and acting facets of a person. It is argued that physical education has the potential to provide a multitude of experiences and opportunities for students’ to become aware of their embodiment, explore alternative modes of awareness and to develop insights into and new modes of being not available elsewhere in the curriculum, and to influence moral character through the support of a moral community that is committed to that practice. Representing a sophisticated and spirited defence of the educational significance and philosophical value of physical education and sport, this book will be fascinating reading for any advanced student or researcher with an interest in physical education, the philosophy of sport, or the philosophy of education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is to (...) improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is to (...) improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Understanding the Score: Film Music Communicating to and Influencing the AudienceJessica Green (bio)IntroductionWhen most people sit down to watch a film, their focus usually stays on the very dynamic images that move onscreen. The dialogue, as a form of diegetic sound, is probably the next piece of the film they concentrate on, but this only imitates actual experience, since most people understand communication by both watching and listening. (...) Christian Metz, in his influential text Film Language: A Semiotics of the Cinema, describes film as “Born of the fusion of several pre-existing forms of expression, which retain some of their own laws (image, speech, music, and noise),” to which he later adds “written materials” as a fifth component.1 Of these five channels of information included in film, music is the most artificial because in many films the majority of music is nondiegetic. For the audience, it is also the channel most removed from everyday life. While people do interact with images, the spoken word, text, and sound in the normal course of a day, people do not walk around constantly supported by a sensitive soundtrack that follows their emotions and thoughts.Yet despite the artificiality of the musical score in comparison with everyday life, audiences have come to accept film music as an integral part of what it means to watch a film. Films that fail to use much music or fail to use it well often have a problem involving the audience as completely as films that embrace music as a tool that can expose the inner feelings and thoughts of characters and can shape the way that viewers feel about what’s happening on screen. To understand the importance of film music, Stam, Burgoyne, and Flitterman-Lewis further explain why it is important to examine music as a significant channel through which the audience makes meaning of the film: “Metz’s definition of the cinema’s matter of expression as consisting of five tracks—image, dialogue, noise, music, written materials—served to call attention to the soundtrack and thus to undercut the formulaic view of [End Page 81] the cinema as an ‘essentially visual’ medium which was ‘seen’ (not heard) by ‘spectators’ (not auditors).”2 By distinguishing dialogue, noise, and music—all auditory channels of information—as important pieces of film, Stam, Burgoyne, and Flitterman-Lewis support Metz’s assertion “that the cinema possesses various ‘dialects,’ and that each one of these ‘dialects’ can become the subject of a specific analysis.”3 Once audiences and critics consider music as one of the fundamental “dialects” of film, it then makes sense to understand music as an essential part of communication and argument in film.But is the film score more than just a reflection of a character’s sadness or the exciting chase music that exhilarates audiences? While most audiences would certainly be able to cite numerous instances of music reflecting the feelings of characters or the general mood of the film, some people might be surprised by the extent to which film music shapes and affects meaning in film. Stam, Burgoyne, and Flitterman-Lewis define several types of music that can be used in scores: redundant music, which reinforces the emotional tone; contrapuntal music, which runs counter to the dominant emotion; empathetic music, which conveys the emotions of the characters; a-empathetic music, which seems indifferent to the drama; and didactic contrapuntal music, which uses music to distance the audience “in order to elicit a precise, usually ironic, idea in the spectator’s mind.”4 Though these terms can be limiting because music often fulfills more than just one role in a scene, they do demonstrate that music is making an argument or working to convince or persuade the audience, proving that film music is behaving rhetorically. Though film music does often fulfill the basic roles of conveying emotion and suggesting connections or themes in the film, film music also works in more complex roles to affect the meaning in film. Through music’s development of specific leitmotifs, themes, and cues, the calculated use of film music in conjunction with the other channels of information helps to create the narrative and control the way... (shrink)

The educator who revolutionized our thinking with his theory of multiple intelligence now offers a far-reaching work on the nature of learning and the influence of culture.

The aim of this paper is twofold. First, I argue that Mary Shepherd has a dispositional understanding of God, matter, and finite minds. That is, she understands all of them as dispositions or powers (two terms I will use interchangeably). Second, I aim to shed light on the emanationist picture suggested by Shepherd’s remarks in her second book Essays on the Perception of an External Universe (EPEU). For instance, Shepherd calls ‘animate’ and ‘inanimate nature’ a divine ‘emanation’ (EPEU 190) and (...) describes finite beings as ‘outgoings’ that come ‘forth’ from God (EPEU 189, 190, 219). Because of this emanationist language, in conjunction with Shepherd’s dispositional understanding of God, matter, and mind, it is helpful to use Jennifer McKitrick’s (2003) distinction between bare and based disposition. For Shepherd’s remarks suggest that the powers that are matter and finite minds are akin to based dispositions because they are caused by and subsist in virtue of God. But since God – ‘THE GREAT FIRST CAUSE’ (ERCE 119) ‘who began not to be’ (EPEU 219) is also a power, the Deity functions similarly to a bare or ungrounded disposition, while matter and finite minds are similar to a ‘based dispositions’ (McKitrick 2003). (shrink)

The article focuses on the work of Ian Wallace, Jeff Wall and Rodney Graham, in particular, a notion of the studio that provides both an anchor and departure for the work of all three. This genealogy turns primarily on Wallace’s photo-conceptual work from the 1970s, which establishes the space of the studio as an allegory of painting or the modernist tradition, and as the topological equivalent of the museum and street. Using Wallace’s model of post-studio practice as an analytic, the (...) article unpacks the tensions of Wall’s notion of cinematography, highlighting his mounting hesitations with photography understood on the model of the studio system, as an inside/outside relationship and as the mimesis of painting. Finally, the article puts the notions of studio as genealogy and dispositif to work in order to understand the logic of Graham’s emphasis on the durational art of film. (shrink)

This paper is concerned with an enquiry into male sex offenders' understanding of masculinity to establish whether there exists a link between their view of masculinity and their sexual offending behaviour. The enquiry concerned twenty-five sexual offenders serving prison sentences. A short discussion follows and it is suggested that a sexuality and spirituality support group could be piloted within the prison context in order to give sex offenders a new perspective on how to be male in an evolving and flexible (...) way by meaningful relationship. (shrink)

This article proposes a methodological schema for engaging in a productive discussion of ethical issues regarding human brain organoids, which are three-dimensional cortical neural tissues created using human pluripotent stem cells. Although moral consideration of HBOs significantly involves the possibility that they have consciousness, there is no widely accepted procedure to determine whether HBOs are conscious. Given that this is the case, it has been argued that we should adopt a precautionary principle about consciousness according to which, if we are (...) not certain whether HBOs have consciousness—and where treating HBOs as not having consciousness may cause harm to them—we should proceed as if they do have consciousness. This article emphasizes a methodological advantage of adopting the precautionary principle: it enables us to sidestep the question of whether HBOs have consciousness and, instead, directly address the question of what kinds of conscious experiences HBOs can have, where the what-kind-question is more tractable than the whether-question. By addressing the what-kind-question, we will be able to examine how much moral consideration HBOs deserve. With this in mind, this article confronts the what-kind-question with the assistance of experimental studies of consciousness and suggests an ethical framework which supports restricting the creation and use of HBOs in bioscience. (shrink)

Understanding dental ethics as a field separate from its much better known counterpart, medical ethics, is a relatively new, but necessary approach in bioethics. This need is particularly felt in dental education and establishing a curriculum specifically for dental ethics is a challenging task. Although certain topics such as informed consent and patient rights can be considered to be of equal importance in both fields, a number of ethical issues in dental practice are only remotely—if at all—relevant for medical practice. (...) Therefore, any sound approach to education in dental ethics has to recognise the unique aspects of dental practice in order to meet the needs of dental students and prepare them for the ethical challenges they may face during their professional practice. With this goal in mind, this paper examines the approach of the authors to dental ethics education and proposes a system to organise the topics of biomedical ethics for dental education. While the authors' perspective is based on their experience in Turkey, the proposed system of classification is not a rigid one; it is open to interpretation in other contexts with different social, cultural and professional expectations. Therefore, the paper also aims to inspire discussion on the development of an ideal dental ethics curriculum at an international level. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary like (...) the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

I seek an explanation for the etiology and the function of mind wandering episodes. My proposal – which I call the cognitive control proposal – is that mind wandering is a form of non-conscious guidance due to cognitive control. When the agent’s current goal is deemed insufficiently rewarding, the cognitive control system initiates a search for a new, more rewarding goal. This search is the process of unintentional mind wandering. After developing the proposal, and relating it to literature on mind (...) wandering and on cognitive control, I discuss explanations the proposal affords, testable predictions the proposal makes, and philosophical implications the proposal has. (shrink)

Intentional action is, in some sense, non-accidental, and one common way action theorists have attempted to explain this is with reference to control. The idea, in short, is that intentional action implicates control, and control precludes accidentality. But in virtue of what, exactly, would exercising control over an action suffice to make it non-accidental in whatever sense is required for the action to be intentional? One interesting and prima facie plausible idea that we wish to explore in this paper is (...) that control is non-accidental in virtue of requiring knowledge—either knowledge-that or knowledge-how (e.g., Beddor and Pavese 2021; cf., Setiya 2008; 2012 and Habgood-Coote 2018). We review in detail some key recent work defending such knowledge-centric theories of control, and we show that none of these accounts holds water. We conclude with some discussion about how control opposes the sort of luck intentional action excludes without doing so by requiring knowledge (that- or how). (shrink)

In a recent paper, Gray, Knickman, and Wegner present three experiments which they take to show that people perceive patients in a persistent vegetative state to have less mentality than the dead. Following on from Gomes and Parrott, we provide evidence to show that participants' responses in the initial experiments are an artifact of the questions posed. Results from two experiments show that, once the questions have been clarified, people do not ascribe more mental capacity to the dead than to (...) PVS patients. There is no reason to think that people perceive PVS patients as more dead than dead. (shrink)

In this paper, I offer evidence that folk views of free will and moral responsibility accord a central place to consciousness. In sections 2 and 3, I contrast action production via conscious states and processes with action in concordance with an agent's long-standing and endorsed motivations, values, and character traits. Results indicate that conscious action production is considered much more important for free will than is concordance with motivations, values, and character traits. In section 4, I contrast the absence of (...) consciousness with the presence of consciousness in behaviorally identical agents. Most participants attribute free will to conscious agents, but not to nonconscious agents. Focusing in particular on two leading views of free will and moral responsibility, namely, Deep Self and Reasons-Responsive Views, I argue that these results present philosophers of mind and action with the following explanatory burden: develop a substantive theory of the connection between consciousness on the on.. (shrink)

Common-sense folk psychology and mainstream philosophy of action agree about decisions: these are under an agent's direct control, and are thus intentional actions for which agents can be held responsible. I begin this paper by presenting a problem for this view. In short, since the content of the motivational attitudes that drive deliberation and decision remains open-ended until the moment of decision, it is unclear how agents can be thought to exercise control over what they decide at the moment of (...) deciding. I note that this problem might motivate a non-actional view of deciding?a view that decisions are not actions, but are instead passive events of intention acquisition. For without an understanding of how an agent might exercise control over what is decided at the moment of deciding, we lack a good reason for maintaining commitment to an actional view of deciding. However, I then offer the required account of how agents exercise control over decisions at the moment of deciding. Crucial to this account is an understanding of the relation of practical deliberation to deciding, an understanding of skilled deliberative activity, and the role of attention in the mental action of deciding. (shrink)

One necessary condition on any adequate account of perception is clarity regarding whether unconscious perception exists. The issue is complicated, and the debate is growing in both philosophy and science. In this paper we consider the case for unconscious perception, offering three primary achievements. First, we offer a discussion of the underspecified notion of central coordinating agency, a notion that is critical for arguments that purportedly perceptual states are not attributable to the individual, and thus not genuinely perceptual. We develop (...) an explication of what it is for a representational state to be available to central coordinating agency for guidance of behavior. Second, drawing on this explication, we place a more careful understanding of the attributability of a state to the individual in the context of a range of empirical work on vision-for-action, saccades, and skilled typing. The results place pressure on the skeptic about unconscious perception. Third, reflecting upon broader philosophical themes running through debates about unconscious perception, we highlight how our discussion places pressure on the view that perception is a manifest kind, rather than a natural kind. In doing so, we resist the tempting complaint that the debate about unconscious perception is merely verbal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Setting the Stage for a Dialogue:Aesthetics in Drama and Theatre EducationAlistair Martin-Smith (bio)For us, education signifies an initiation into new ways of seeing, hearing, feeling, moving. It signifies the nurture of a special kind of reflectiveness and expressiveness, a reaching out for meanings, a learning to learn.—Maxine Greene, Variations on a Blue Guitar1Examining the aesthetics of the complementary fields of educational drama and theatre is like looking through a (...) kaleidoscope. If you turn it one way, you see one colorful pattern; if you turn it the other way, you see yet another. The multiplicity of approaches to drama and theatre education, each with its own aesthetic pattern, often obscures the common ground they all share. As a result, in its unique emphasis on art, pedagogy, and society, each may have its own aesthetic pattern; yet only by looking closely at each distinct pattern can we understand more of the power of drama and theatre to develop human consciousness.In Western education, aesthetic learning seems incidental to the assessment of learning. How did this happen? For Descartes, whose Cartesian philosophy dissociated mind from body, aesthetic feelings are irrational, since they originate in the body's senses rather than in the mind. Theories of education focused on the primacy of cognition, denying feelings in the erroneous belief that learning is independent of its context. Conversely, aesthetic education is concerned with the quality of experience, how it is felt. Dewey believed that "learning by doing" was a "consummatory" experience for the learner; it was dramatic, dialogic, and felt. The confusion between subjective and objective aspects of the aesthetic experience makes aesthetic evaluation difficult, and this may be why cognitively dominated education has steered clear of aesthetics. Richard Courtney recognized that there is an important distinction to be made between aesthetic symbols and [End Page 3] artistic symbols: "Aesthetic symbols emphasize feeling; artistic symbols are context-dependent—they only have meaning in the context of art."2David Best argues that "the failure to recognise the distinction between the aesthetic and the artistic contributes largely to the trivialisation of the potential of the arts in education."3 He points out that "... it may often be necessary to take into account, at least implicitly, wider factors... in order to judge whether [an] appraisal was aesthetic or artistic."4 What are these wider factors, and how can audiences attend to them? As Christopher Havell reminds us,There is increasing pressure on drama teachers to use their teaching expertise purely for the development of social and life-skills training. This instrumental work may, at times, closely resemble the drama process, but the intentions will be confined to an experience that simulates or resembles those "real-life situations" that it is expected students will encounter. The aesthetic search for the "universal" at the centre of the particular will not be a relevant aim in any vocational training! One can only hope that the emerging interest in the aesthetic nature of drama and its place in a coherent arts education will encourage teachers and students to reflect on the final inadequacy of any instrumental view.5I believe that it is through the power of aesthetic education that audiences for drama and theatre will come to appreciate the artistic.In Caravaggio's painting David with the Head of Goliath (1606-10), the viewer is confronted with three time periods simultaneously. In his depiction of David, Caravaggio paints the shepherd-king of the Old Testament who prefigures Christ, but he is also modeled on Caravaggio's lover. David holds the severed head of Goliath down low in such a way as to engage the private viewer rather than to evoke the public spectacle.6 As I understood that the head of Goliath was actually a self-portrait of the painter not long before his death, I experienced a moment of instantaneity that shocked me into a new awareness of my own mortality, my relation to life and death. As it is Caravaggio's last journey, so is it our own. While Caravaggio's penultimate painting is recognized in terms of its artistic achievement, the moment of self-recognition on the part of the... (shrink)

Here, I review work from three lines of research in cognitive science often taken to threaten free will and moral responsibility. This work concerns conscious deciding, the experience of acting, and the role of largely unnoticed situational influences on behavior. Whether this work in fact threatens free will and moral responsibility depends on how we ought to interpret it, and depends as well on the nature of free and responsible behavior. I discuss different ways this work has been interpreted and (...) argue that though work on conscious deciding and the experience of acting presents no real threat, work on situational influences is more difficult to dismiss. This work may present a real threat, and it may require us to revise our commonsense understanding of free and responsible behavior. But this work may also present ways to augment free and responsible behavior. Determining whether and how advancing science threatens, enhances, or simply describes free will is an ongoing task for scientists and philosophers alike. (shrink)

Background: Research involving adults lacking mental capacity relies on the involvement of a proxy or surrogate, although this raises a number of ethical concerns. Empirical studies have examined attitudes towards proxy decision-making, proxies’ authority as decision-makers, decision accuracy, and other relevant factors. However, a comprehensive evidence-based account of proxy decision-making is lacking. This systematic review provides a synthesis of the empirical data reporting the ethical issues surrounding decisions made by research proxies, and the development of a conceptual framework of proxy (...) decision-making for research. Methods: A systematic review was conducted according to PRISMA guidelines. Databases including MEDLINE, EMBASE, and CINAHL were searched using a combination of search terms, and empirical data from eligible studies were retrieved. The review followed the framework synthesis approach to refine and develop a conceptual framework. Results: Thirty-four studies were included in the review. Two dimensions of proxy decision-making emerged. The ethical framing criteria of decision-making used by proxies: use of a substituted judgement, use of a best interests approach, combination of substituted judgement and best interests, and ‘something else’, and the active elements of proxy decision-making: ‘knowing the person’, patient-proxy relationship, accuracy of the decision, and balancing risks, benefits and burdens, and attitudes towards proxy decision-making. Interactions between the framing criteria and the elements of decision-making are complex and contextually-situated. Conclusions: The findings from this systematic review challenge the accepted reductionist account of proxy decision-making. Decision-making by research proxies is highly contextualized and multifactorial in nature. The choice of proxy and the relational features of decision-making play a fundamental role: both in providing the proxy’s authority as decision-maker, and guiding the decision-making process. The conceptual framework describes the relationship between the framing criteria used by the proxy, and the active elements of decision-making. Further work to develop, and empirically test the proposed framework is needed. (shrink)

It is natural to think that at root, agents are beings that act. Agents do more than this, however – agents omit to act. Sometimes agents do so intentionally. How should we understand intentional omission? Recent accounts of intentional omission have given causation a central theoretical role. The move is well-motivated. If some form of causalism about intentional omission can successfully exploit similarities between action and omission, it might inherit the broad support causalism about intentional action enjoys. In this paper (...) I consider the prospects for causalism about intentional omission. I examine two recent proposals: one Carolina Sartorio (2009) defends, and one Randolph Clarke (2010a) defends. I argue these versions fail, and for a similar reason. Reflection on the function of intention for agency brings this reason to light, and motivates a novel causalism about intentional omission. On the account I go on to defend necessarily, an agent J intentionally omits to A only if an intention of J’s with relevant content (or the intention’s acquisition) causes in J a disposition not to A. Though the causal work done by intentions to omit differs in some cases from the causal work done by intentions to act, it turns out that causalism about intentional behavior (i.e., about action and omission) is viable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's book before sketching four (...) recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Culturally Responsive Teaching in Music Education: From Understanding to Application by Vicky R. Lind and Constance L. McKoyEric ShiehVicky R. Lind and Constance L. McKoy, Culturally Responsive Teaching in Music Education: From Understanding to Application (New York, NY: Routledge, 2016).In the book’s penultimate chapter, titled “Community,” we encounter a teacher who agrees to a student’s request to start a mariachi band and gets “more than he bargained for.”1 (...) We hear from a teacher who seeks a greater understanding of the context for her Black students and finds herself the only White person in many of the community events she attends. We learn about a teacher who has her marching band, predominantly comprised of Latinx students, march in annual Korean and Black community parades in the city and why she does this. What to make of these stories—inspiring, provocative, suffused with honesty? I found myself restless to share these narratives with my own teaching colleagues, to ask not simply “What do you see happening here?” but also “Where would something like this take us?”What is notable about Vicky Lind and Constance McKoy’s achievement here is that they have given us a very full book and one that provides many different points of entry—stories and theories and activities and questions—through which to engage with ideas of culturally responsive teaching. In just under 150 [End Page 210] pages with index and references, the book encompasses four chapters that review various academic traditions connected to culturally responsive teaching, concludes with three chapters that relay narratives and vignettes from K-12 music teachers, and includes throughout lists of reflection questions and teaching strategies. The primary audience is pre-service and in-service K-12 music teachers. If a key requirement for culturally responsive teaching is continuous reflection over the impacts our pedagogies have on our students and ourselves as teachers, this book’s wide-ranging engagement is indeed a welcome one.What I offer here in terms of review, then, is first a consideration of the book’s various components and where they might lead us. Second, I bring its ideas of cultural responsiveness into dialogue with ideas more commonly found in anti-racist and social justice approaches to education—traditions the book does not directly engage with but which certainly have a place in conversations around it. This is a particularly relevant time, I suggest, to engage with questions of cultural responsiveness alongside perhaps more politically-minded approaches: this book will be read, I hope, by teachers grappling with our age of renewed and visible racial struggle, increased forced migration, and cultural insecurity.The first half of the book is explicitly dedicated to “understanding” culturally responsive teaching. Its chapters present a historical overview of its conceptual development, explicate the centrality of culture and cultural competence to teaching, and discuss the connection between music and identity in young people. The authors center their conceptualization of culturally responsive teaching around Geneva Gay’s framework, outlined in her Culturally Responsive Teaching, as “using the cultural knowledge, prior experiences, frames of reference, and performance styles of ethnically diverse students to make learning encounters more relevant to and effective for them.”2 “Effective,” here, is understood broadly and includes academic competence, self-efficacy, social critique, and the freedom to be “ethnically expressive.”3In laying this foundation, the authors negotiate thoughtfully a number of tensions inherent in this work that are too often simplified in the classroom. They recognize, for example, the need to acknowledge culture as a category through which human experience is mediated, but also one that too easily gives way to stereotyping. When discussing issues of music and identity they remind readers that musical identities are multiple and suggest that musical identities might be viewed as both “bottom-up” and “top-down”—constructed through a variety of ongoing experiences as much as they are constituted by national or ethnic affiliation.4 They also do not shy from language such as “high expectations” and “academic competence” when discussing the need for comprehensive and supportive classrooms, despite the uneasiness with which these terms often sit in arts education and alongside purposes of engendering social critique... (shrink)

There is a growing recognition, stemming from work with both vertebrates and invertebrates, that the capacity for neuronal regeneration is critically dependent on the local microenvironment. That environment is largely created by the non‐neuronal elements of the nervous system, the neuroglia. Therefore an understanding of how glial cells respond to injury is crucial to understanding neuronal regeneration. Here we examine the process of repair in a relatively simple nervous system, that of the insect, in which it is possible to define (...) precisely the cellular events of the repair process. This repair is rapid and well organised; it involves the recruitment of blood cells, the division of endogenous glial elements and, possibly, migration from pre‐existing glial pools in adjacent ganglia. There are clear parallels between the events of repair and those of normal glial development. It seems likely that the ability of the insect central nervous system to repair resides in the retention of developmental capacities throughout its life and that damage results in the activation of this potential. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's book before sketching four (...) recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Alexandra Kertz-Welzel’s “Two Souls, Alas, Reside within My Breast”: Reflections on German and American Music Education Regarding the Internationalization of Music EducationPhilosophy of Music Education Review, 21, no.1 (Spring 2013): 52–65Leonard TanAs a Singaporean who, like Kertz-Welzel, spent four years residing in the United States, I read the article with great interest. Born to traditional Chinese parents, I was raised steeped in Confucian values, savored Chinese operas, (...) and spoke Mandarin as a child. When I went to school in postcolonial Singapore, however, the medium of instruction was primarily English. I read Enid Blyton in primary school, Shakespeare in secondary school, and Chaucer in Junior College. My university studies in music were Western-centric. All seemed fine until my doctoral studies in the United States when I was inspired by my music education professor to revisit my cultural roots and to read Chinese philosophy. It was [End Page 113] no easy task reading the original texts—they were written on bamboo slips more than two thousand years ago in classical Chinese, and I needed tuition from my mother. Nevertheless, as I worked my way slowly but surely through each character, one thing became unmistakably clear: although I had read more Western than Asian philosophy, many ideas in the ancient Chinese texts resonate with the innermost recesses of my being and are unmistakably a part of who I am as a Chinese Singaporean, albeit one schooled in Western ways.Two souls, alas, have been residing within my breast! Like Kertz-Welzel, I had to find a way to reconcile my two scholarly identities. How may one negotiate the seeming chasm between the Chinese and Western philosophical worlds? In this paper, I sketch some insights gleaned from my journey into the world of comparative philosophy, specifically, classical Chinese philosophy and American pragmatism. In particular, I address two obstacles to the internationalization of music education identified by Kertz-Welzel, namely, the tendency for researchers to know only one scholarly tradition well, and the use of English as an international language. I then proffer Dewey’s metaphor of “friendship” as a way of charting a new “silk road”—one that blends Eastern and Western ideas—for the philosophy of music education.As noted by Kertz-Welzel, many researchers only know one scholarly tradition well. Dangers lurk when scholars have limited knowledge of foreign philosophical enterprises. To begin with, one may fall into the trap of stereotypical preconceptions. For example, I have been asked if it were methodologically sound to juxtapose Chinese philosophical aphorisms with the closely argued texts of the American pragmatists. The basis of this critique is understandable: think Confucius and aphoristic phrases that teach humans how to lead moral lives immediately spring to mind; think Dewey and one is reminded of the depth and breadth of his philosophical arguments. Chinese philosophical texts, however, are by no means mere aphorisms. While the Analects of Confucius may, prima facie, appear as if it were a random collection of brief sayings, many passages relate to one another and cohere as a philosophy. The rich commentarial tradition that spans over two thousand years further augment the range of insights embedded in the Analects. Post Confucius, Xunzi, the philosopher best known for his argument that human nature is evil and ought to be cultivated through ritual (li 禮) and music (yue 乐), articulated his philosophy through thirty-two books that rival Dewey in richness and complexity.1 For two souls to reside within one breast, one has to remain vigilant against potential stereotypes.The tendency to know only one scholarly tradition well may also inadvertently cause one to judge a foreign philosophical tradition using the standards of the familiar one. When encountering Confucius for the first time, scholars schooled in European philosophy may, as Hegel did, criticize him for being a [End Page 114] shallow moralizer obsessed with rituals (li 禮) rather than a speculative philosopher concerned with theoretical matters.2 Such a judgment is misguided as it ignores the fact that the Chinese philosophical tradition was founded on a set of metaphysical assumptions that differed from its Greek counterpart. Seeing the cosmos in discrete, quantitative, and unchanging terms, the ancient... (shrink)

People who are unable to make decisions about participating in research rely on proxies to make a decision based on their wishes and preferences. However, patients rarely discuss their preferences about research and proxies find it challenging to determine what their wishes would be. While the process of informed consent has traditionally been the focus of research to improve consent decisions, the more conceptually complex area of what constitutes ‘good’ proxy decision-making for research has remained unexplored. Interventions are needed to (...) improve and support proxy decision-making for research but are hampered by a lack of understanding about what constitutes decision quality in this context. A global increase in conditions associated with cognitive impairment such as dementia has led to an urgent need for more research into these conditions. The COVID-19 pandemic and subsequent necessity to conduct research with large numbers of critically ill patients has made this need even more pressing. Much of the empirical research centres on the desire to improve decision accuracy, despite growing evidence that authenticity is more reflective of the aim of proxy decisions and concerns about the methodological flaws in authenticity-focused studies. Such studies also fail to take account of the impact of decision-making on proxies, or the considerable body of research on improving the quality of healthcare decisions. This paper reports a concept synthesis of the literature that was conducted to develop the first conceptualisation of ‘good’ proxy decisions about research participation. Elements of decision quality were identified across three stages of decision-making: proxy preparedness for decision-making which includes knowledge and understanding, and values clarification and preference elicitation; the role of uncertainty, decisional conflict, satisfaction and regret in the decision-making process; and preference linked outcomes and their effect. This conceptualisation provides an essential first step towards the future development of interventions to enhance the quality of proxy decision-making and ensure proxy decisions represent patients’ values and preferences. (shrink)

Research involving adults who lack capacity to consent relies on proxy (or surrogate) decision making. Proxy decisions about participation are ethically complex, with a disparity between normative accounts and empirical evidence. Concerns about the accuracy of proxies’ decisions arise, in part, from the lack of an ethical framework which takes account of the complex and morally pluralistic world in which proxy decisions are situated. This qualitative study explored the experiences of family members who have acted as a research proxy in (...) order to develop an understanding of the ethical concepts involved, and the interactions between those concepts. Proxies described a complex process of respecting the wishes and preferences of the person they represented, whist integrating preferences with what they viewed as being in the interests of the person. They aimed to make a decision that was ‘best’ for the person and protected them from harm; they also aimed to make the ‘right’ decision, viewed as being authentic to the person’s values and life. Decisions were underpinned by the relationship between the person and their proxy, in which both trust and trustworthiness were key. Proxies’ decisions, based both on respect for the person and the need to protect their interests, arose out of their dual role as both proxy and carer. The findings raise questions about accounts which rely on existing normative assumptions with a focus on accuracy and discrepancy, and which fail to take account of the requirement for proxies to make authentic decisions that arise out of their caring obligations. (shrink)

The AHP Code of Ethics requires members to serve the best interests of their clients, be clear and honest with them, and keep their secrets confidential. Members pledge to represent their skills and qualifications honestly and to make appropriate referrals to others more qualified when out of their depth.AHP stands for “Associated Hair Professionals,” or hair stylists, but their Code of Ethics looks a lot like the Hippocratic Oath and the current Principles of Medical Ethics of the American Medical Association. (...) All of these ethics statements emphasize honesty, confidentiality, competence, serving patients’ best interests, and willingness to refer to other qualified professionals. But it’s not just doctors and hair professionals who have Codes of Ethics. The SPCP — Society of Permanent Cosmetic Professionals —requires its members to “maintain high professional standards consistent with sound practices,” “conduct business relationships in a manner that is fair to all,” and avoid false or misleading statements to the effect that the application of permanent makeup is not tattooing, not permanent, and not painful. (shrink)