In a world increasingly described as turbulent and chaotic, management scholars have acknowledged the importance of a virtue-based set of criteria to serve as a moral rubric for the stakeholders that an organization serves. Business schools play a unique role in helping their students to understand the ethical issues facing business. Business schools can also model the way for creating a clear statement of values and principles, by creating a bill of rights for business schools that recognizes the importance of (...) rights and responsibilities and articulates the important ethical issues that apply not only to business but to the business school context. Four models for creating a bill of rights in schools of business are presented and a framework of a bill of rights is provided. The advantages of a virtue ethics model for a bill of rights are explained as the most practical approach for business faculty to consider. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions (...) that music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

Stephen Davies taught philosophy at the University of Auckland, Auckland, New Zealand. His research specialty is the philosophy of art. He is a former President of the American Society for Aesthetics. His books include Definitions of Art (Cornell UP, 1991), Musical Meaning and Expression (Cornell UP, 1994), Musical Works and Performances (Clarendon, 2001), Themes in the Philosophy of Music (OUP, 2003), Philosophical Perspectives on Art (OUP, 2007), Musical Understandings and Other Essays on the Philosophy of Music (OUP, 2011), The (...) Artful Species: Aesthetics, Art, and Evolution (OUP, 2012), The Philosophy of Art (Wiley-Blackwell, 2016 second ed.), and Adornment: What Self-decorations Tells Us about Who We Are, (Bloomsbury Academic, 2020). (shrink)

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be (...) defined, and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single (...) type, Davies recognizes a great variety of kinds, and a complementary range of possibilities for their rendition. (shrink)

Theists typically believe the following two propositions: God is omniscient, and Human beings are free. Are they consistent? In order to decide, we must first ask what they mean. Roughly, let us say that a being is omniscient if for any proposition he knows whether it is true or false. Since I have no wish to deny that there are true and false propositions about future states of affairs , omniscience includes foreknowledge, which we can say is knowledge of the (...) truth value of propositions about future states of affairs. For example, I believe the proposition ‘Davis will wear shoes tomorrow’ is true today, and if it is true today, i.e. if I will wear shoes tomorrow, an omniscient being knows today that it is true – and, if this being is eternally omniscient, he knew it millions of years ago. (shrink)

What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...) of the dominance of recorded over live music. (shrink)

In this paper I shall discuss a certain theodicy, or line of argument in response to the problem of evil, viz, the so-called ‘free will defence’. What I propose to do is defend this theodicy against an objection that has been made to it in recent years.

Let me begin with a true story. Years ago, early in my career as a professor of philosophy, I had a fascinating series of conversations with a student whom I will call Peter. He was a bright and incisive senior, with a double major in philosophy and psychology. Raised in a religious family, the son of a Christian minister, he was himself unable to believe. His doubts were too strong. But the odd fact was that he genuinely wanted to believe. (...) His religious scepticism deeply troubled him; part of him envied the faith of his parents. How do you go about making yourself believe?, he asked me. How do you go about having the kinds of religious experiences that lead people to faith? These were long and intense conversations, and I was unable to move Peter away from his doubts. So far as I know he is still a sceptic. (shrink)

The search for a worldwide environmental ethic is linked to the increase in environmental concern since (particularly) the 1960s, and the recognition that environmental problems can have a global i...To date, insufficient work has been carried out on how children view living organisms in the environment. In this study a large number of conversations were audio-taped and transcribed while primar...

In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...) literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)

Inattentional blindness studies have shown that an unexpected object may go unnoticed if it does not share the property specified in the task instructions. Our aim was to demonstrate that observers develop an attentional set for a property not specified in the task instructions if it allows easier performance of the primary task. Three experiments were conducted using a dynamic selective-looking paradigm. Stimuli comprised four black squares and four white diamonds, so that shape and colour varied together. Task instructions specified (...) shape but observers developed an attentional set for colour, because we made the black–white discrimination easier than the square–diamond discrimination. None of the observers instructed to count bounces by squares reported an unexpected white square, whereas two-thirds of observers instructed to count bounces by diamonds did report the white square. When attentional set departs from task instructions, you may fail to see what you were told to look for. (shrink)

I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...) came to be described in the early twentieth century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Know-How of Musical PerformanceStephen DaviesMusicians make music; that is, the performance of music involves applied knowledge or know-how. Can we attain a discursive understanding of what the musician does, and does the attempt to achieve this put at risk the very art it aims to capture? In other words, what can be said of the nature of performance and does what we say turn a living practice into (...) a dead object? In this discussion, I aim to clarify the issues in terms of which these questions can be developed.Consider acquired practical knowledge or'knowing how.'1 It involves a learned skill or capacity to do something-typically, to perform an action-as in "I know how to ride a unicycle."2 'Knowing how'can be subdivided into types. A first variety is always conscious. For most people, mental arithmetic is of this kind. It is not mental arithmetic they are doing if they do not follow an appropriate rule, algorithm, procedure, or principle, even if they fluke the right answer. Many practical skills are of this sort. I know how to fill in tax forms, immigration documents, and hire purchase agreements. In all these cases, the working of the skill and the steps through which it is exercised are held inevitably before my mind. A second type of 'knowing how' might be termed "retrievable." I know how to drive a car. Most of the time, I am not aware of the processes, judgments, and procedures that are [End Page 154] involved. I do not have to think about my driving as I drive. Nevertheless, if I reflect on what I do, I can describe the steps or routines I go through. A third type of 'knowing how' is cognitively impenetrable. Cognitively impenetrable processes are opaque to introspection. Some bit of neurological hardware receives an input, processes it, and outputs some result, but the nature of that processing is not retrievable by consciousness. The skill is learned but the many computational, muscular, kinaesthetic, or other activities involved in the skill's application or execution are not available to the agent's awareness. From my own case, typical examples are of knowing how to walk, how to pick up a glass, and how to speak English.3 When a person intends to perform an action of this kind, he aims at it directly, as it were. He intends to turn his skateboard to the left, say, not to flex this muscle here and so. He can intend to produce a certain action as output, but the intermediate steps and movements involved in this, to the extent that they are controlled in an irretrievable fashion, are not what he can intend. Similarly, where 'knowing how' is retrievable but automatic, the action is intended directly. The intermediary steps and movements are not what are intended so long as the action remains automatic.In what ways is practical knowledge acquired? In some cases it can be learned from verbal descriptions of the appropriate basic actions and their sequences-"put the left leg in and shake it all about"-or of the relevant rules or algorithms-"multiply by π r2." In others, learning is by example, copying, or experimenting. Some procedures work better for some skills than others. Generally speaking, when we encourage children and stroke victims to walk we do not provide them with examples. By contrast, language skills are often conveyed via paradigm instances. And while it is possible to learn to drive a plane from an instruction manual alone, one is more likely to be successful by following and being assisted by an instructor. Always conscious skills are often acquired by memorizing the procedure or rule that must be kept in mind, whereas automatic but retrievable skills, because their application is unconscious, are usually acquired through physical repetition until the routine becomes unthinking. Nevertheless, even cognitively impenetrable skills might be learned by first following written instructions. What makes the skill impenetrable is not the method by which it is acquired but the inability to recall or describe the relevant steps, rules, or procedures when the skill is entrenched.4A given skill might be cognitively impenetrable for... (shrink)

I discuss three theories regarding the interpretation of fictional literature: actual intentionalism (author's intentions constrain how their works are to be interpreted), hypothetical intentionalism (interpretations are justified as those most likely intended by a postulated author), and the value-maximizing theory (interpretations presenting the work in the most favourable light are to be preferred). I claim that actual intentionalism cannot account for the appropriateness or legitimacy of some interpretations, or alternatively that it must be weakened to the point that the considerations (...) raised by hypothetical intentionalists and value maximizers come into play. And I argue that hypothetical intentionalism either reduces to the value-maximizing theory, which provides a more accurate and clearer expression of the position than does hypothetical intentionalism, or it mistakenly attributes to hypothesized intentions the kind of force that attaches only to actual intentions. (shrink)

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and (...) truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century. (shrink)

This interdisciplinary study follows an international and ecumenical meeting of twenty-four scholars held in New York at Easter 2000: the Incarnation Summit. After an opening chapter, which summarizes and evaluates twelve major questions concerning the Incarnation, five chapters are dedicated to the biblical roots of this central Christian doctrine. A patristic and medieval section corrects misinterpretations and retrieves for today the significance of the Council of Chalcedon and its aftermath, as well as clarifying Aquinas' enduring metaphysical interpretation of the Incarnation. (...) The volume then moves to theological and philosophical debates: three scholars take up such systematic issues as belief in the Incarnation, the self-emptying that it involves, and its compatibility with divine timelessness. The remaining four essays consider the place of the doctrine of the Incarnation in literature, ethics, art, and preaching. There is a fruitful dialogue between experts in a wide range of areas and the international reputation of the participants reflects and guarantees the high quality of this joint work. The result is a well researched, skilfully argued, and, at times, provocative volume on the central Christian belief: the Incarnation of the Son of God. (shrink)

This interdisciplinary study follows an international and ecumenical meeting of twenty-one scholars held in New York at Easter 2003: the Redemption Summit. After an opening chapter, which explores seven central questions for writers on redemption, five chapters are dedicated to the scriptural roots of the doctrine. A section on the patristic and medieval periods then examines the interpretation of redemption through the centuries. The volume moves on to foundational and systematic issues: the problem of horrendous evil, karma and grace, and (...) differing views on justification. Studies on the redemption in literature, art, music, and preaching form the final part. There is a fruitful dialogue between experts in a wide range of areas and the international reputation of the participants reflects and guarantees the high quality of this joint work. The result is a well researched, skilfully argued, and, at times, provocative volume on the central Christian belief: the redemption of human beings through Jesus Christ. (shrink)

This interdisciplinary study follows an international and ecumenical meeting of twenty-one scholars held in New York at Easter 2003: the Redemption Summit. After an opening chapter, which explores seven central questions for writers on redemption, five chapters are dedicated to the scriptural roots of the doctrine. A section on the patristic and medieval periods then examines the interpretation of redemption through the centuries. The volume moves on to foundational and systematic issues: the problem of horrendous evil, karma and grace, and (...) differing views on justification. Studies on the redemption in literature, art, music, and preaching form the final part. There is a fruitful dialogue between experts in a wide range of areas and the international reputation of the participants reflects and guarantees the high quality of this joint work. The result is a well researched, skilfully argued, and, at times, provocative volume on the central Christian belief: the redemption of human beings through Jesus Christ. (shrink)

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and (...) truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century. (shrink)

known as timbral sonicism, accepts that a musical work's orchestral colour is a factor in its identity, but denies that the use of the specified instruments is required for an authentic rendition of the work provided that sounds as of those instruments are achieved. This position has been defended by Julian Dodd. In arguing against his view, I appeal to empirical work showing that composers, musicians, and listeners typically hear through music to the actions that go into its production. In (...) this respect, musical listening reflects the standard account of ‘ecological hearing’; we appreciate sounds as providing information about their sources rather than for their intrinsic qualities. On this basis, I suggest that musical instruments are not merely means to the production of the sounds of performances. Their use is mandated if such performances are to be properly formed. More specifically, when composers are able to make the instrumentation of their compositions central to the identity of those compositions, accurate performances must involve the appropriate use of the specified instruments. CiteULike Connotea Del.icio.us What's this? (shrink)

About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University of (...) London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. (shrink)

A less often remarked fact is that a work’s composition can overshoot its completion. It is the description apt for these cases that is the topic of this chapter. But before I get to that, it is useful to describe some of the signs that show a work to be finished.

defining art conjunctively, that is, by defining the individual arts and joining these definitions in an exhaustive list. I suggest that the individual art forms are no easier to define than is the general category of art. As well, not everything falling within a given art form counts as art, not every instance of art in the given medium falls within the art form, and some artworks do not belong to an art form at all, so conjoining definitions of the (...) individual art forms (supposing they could be defined) would not map the extension of ’art’. Taken together, these problems indicate that the approach advocated here to art’s definition cannot be successful or convincing. (shrink)

In the last 20 years postmodernism has had a powerful effect on the discipline of history and is now forcing empiricist historians to articulate their methods, and to defend them as both possible and virtuous. In this concise introduction, Stephen Davies explains what historians mean by empiricism, examines the origins, growth and persistence of empirical methods, and shows how students can apply these methods to their own work.

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

The degradation of non-market relationships has rendered individuals unnecessarily vulnerable in disasters, including the global pandemic. While local networks of community-based aid that emerge in response to disasters improve the efficacy of response, they tend to be short-lived. This is unfortunate, since the existence and strength of such local networks prior to the onset of disasters not only boosts the efficacy of response but also contributes to the well-being of individuals and communities in non-disaster times. Therefore, individuals ought to establish (...) and strengthen fair-weather local networks of non-market relationships—that is, cultivate neighbor relationships. (shrink)

The Genre Legong is a secular (balih-balihan) Balinese dance genre (Anon. 1971).[1] Though originally associated with the palace,[2] legong has long been performed in villages, especially at temple ceremonies, as well as at Balinese festivals of the arts. Since the 1920s, abridged versions of legong dances have featured in concerts organized for tourists and in overseas tours by Balinese orchestras. Indeed, the dance has become culturally emblematic, and its image is used to advertise Bali to the world. Traditionally, the dancers (...) are three young girls; the servant (condong), who dances a prelude, and two legong. All wear elaborate costumes of gilded cloth with ornate accessories and frangipani-crowned headdresses.[3] The core repertoire consists of about fifteen dances (some of which are now lost), ranging in their longest versions from thirty to sixty minutes. Some of these are narrative, while others are abstract or general representations of nature, birds, insects, or plants. Those that involve narratives are, nevertheless, highly stylized, and the presentation of the drama is always secondary to the beauty of the dance. The genre is regarded as a treasury of the movements for Balinese women’s dance, and no dancer’s training is complete if she lacks a solid grounding in legong. The dance is accompanied by a gamelan of twenty-five or more players.[4] Though the legong dance remains popular in areas of traditional strength, and despite efforts to revive it, it is generally in decline (Davies 2006). (shrink)