Providing high-quality education for students with emergent proficiency in the language of instruction (referred to here as multilingual students) presents a challenge to inclusion for educational systems the world over. In Austria, a new German language support model was implemented in the school year 2018/19 which provides language support in separate classrooms up to 20 h a week. Since its implementation, the model has been strongly criticized for excluding multilingual students from the mainstream classroom, which is argued to reinforce the (...) educational disadvantages that they face. The study presented here provides unprecedented qualitative insight into how schooling for students within the so-called German language support classes (GLSC) was organized during the COVID-19 pandemic. It builds on results of a previous large-scale quantitative study (n= 3,400 teachers), which was conducted during the first lockdown (spring 2020) and indicated a high risk of exclusion for marginalized students, especially for multilingual students in GLSC. To gain deeper insights into the situation of these students during school closures, 37 teachers who work in these classes at both primary and lower-secondary schools in Vienna were interviewed, of which 18 interviews were considered for analysis. The interviews focus on the situation during the first and second school closures in the city of Vienna. A thematic analysis of the interview data reveals teachers’ perceptions of aspects which harmed or promoted inclusion for students in GLSC during these periods of school closure. Teachers’ perceptions of the most harming factors for students included strong language barriers between teachers and students, restricted access to technical equipment and supportive learning spaces, and low parental engagement. A development that promoted inclusion of these students was the option to allow them to come to school during the second school closure. Since existing studies on the schooling of students during school closures have hardly addressed the situation of students in GLSC, this study contributes to closing this research gap. (shrink)

This paper summarizes (in German) recent tendencies in the philosophy of the life sciences.

ABSTRACT When one thinks about the ethics of abortion, one inevitably thinks about rights, since it is in terms of the concept of rights that much of the debate has been conducted. This is true of overtly feminist as well as non‐feminist accounts. Indeed, some early feminist writers – Judith Jarvis Thomson and Mary Ann Warren, for example – employ a model of rights that is indistinguishable, or virtually indistinguishable, from that of their non‐feminist counterparts. However, more recent feminist writers (...) have developed a different understanding of ‘a woman's right to choose.’ In this paper, I will begin by outlining the non‐feminist debate over the moral permissibility of abortion. I will suggest that this debate is irresolvable, since at its heart is an ‘essentially contested concept’, that of personhood. I will then consider the way in which some feminist writers have attempted to reconceive the terms of the abortion debate and suggest an expanded account of women's right to abortion, drawing on the work of Susan Sherwin. Finally, I will argue that there is a further element to a ‘woman's right to choose’ that expands on and provides a conceptual link between the feminist and non‐feminist understanding of abortion. (shrink)

The seventeenth and eighteenth centuries are arguably the most important period in philosophy’s history, given that they set a new and broad foundation for subsequent philosophical thought. Over the last decade, however, discontent among instructors has grown with coursebooks’ unwavering focus on the era’s seven most well-known philosophers—all of them white and male—and on their exclusively metaphysical and epistemological concerns. While few dispute the centrality of these figures and the questions they raised, the modern era also included essential contributions from (...) women—like Margaret Cavendish, Elisabeth of Bohemia, Mary Wollstonecraft, and Émilie Du Châtelet—as well as important non-white thinkers, such as Anton Wilhelm Amo, Julien Raimond, and Ottobah Cugoano. At the same time, there has been increasing recognition that moral and political philosophy, philosophy of the natural world, and philosophy of race—also vibrant areas of the seventeenth and eighteenth centuries—need to be better integrated with the standard coverage of metaphysics and epistemology. -/- A New Modern Philosophy: The Inclusive Anthology of Primary Sources addresses—in one volume—these valid criticisms. Weaving together multiple voices and all of the era’s vibrant areas of debate, this volume sets a new agenda for studying modern philosophy. It includes a wide range of readings from 34 thinkers, integrating essential works from all of the canonical writers along with the previously neglected philosophers. Arranged chronologically, editors Eugene Marshall and Susanne Sreedhar provide an introduction for each author that sets the thinker in his or her time period as well as in the longer debates to which the thinker contributed. Study questions and suggestions for further reading conclude each chapter. At the end of the volume, in addition to a comprehensive subject index, the book includes 13 Syllabus Modules, which will help instructors use the book to easily set up different topically structured courses, such as "The Citizen and the State," "Mind and Matter," "Education," "Theories of Perception," or "Metaphysics of Causation." -/- And an eresource offers a wide range of supplemental online resources, including essay assignments, exams, quizzes, student handouts, reading questions, and scholarly articles on teaching the history of philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity (...) of Langer's philosophy as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity (...) of Langer's philosophy as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 17-29 [Access article in PDF] Intersections Form, Feeling, and Isomorphism Mary J. Reichling University of Louisiana at Lafayette These three concepts hold meanings that differ among musicians and aestheticians. In this essay I shall explore them in the writings of Susanne Langer. Contemporary musicians and aestheticians continue today to engage Langer albeit some favorably and others with disdain. Whatever their reasons, (...) she remains a dominant force in the philosophy of music.1 My purpose is not to defend her against her detractors, but rather to examine and to elucidate various aspects of these three concepts in her writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education.First, I consider the broad and complex notion of form and the various ways Langer employs it in her aesthetic theory. Next, the rather all-encompassing idea of feeling as Langer conceives it is studied in relation to the form of the musical work. The intersection of form and feeling in the concept of isomorphism concludes the discussion. [End Page 17] Form In her various writings Langer uses several adjectives associated with the word "form" which seem to organize well into three groups. The first concerns the dynamic, living, organic, and vital qualities of form; the second speaks to its logical and abstract nature; and the last relates to the emotional or feeling aspect of form including expressive and significant characteristics.2 These groupings overlap and intertwine, but focusing on each specifically rather than all as a totality offers important insights.Form as dynamic, living, organic, and vital suggests metaphorical reference. Obviously the form is not physically, biologically, alive; reference is to the apparent movement, growth, and aliveness of the musical form as it is heard or performed. Thus this idea of form implies an actual performance to be realized or perceived. Langer is sometimes criticized for giving little attention to the actual making of music, that is, performance, yet her theory assumes music as heard. Essential to perceiving a dynamic form or hearing a feeling is a processual event, namely, performance or listening to a performance. Rarely a professional musician or gifted amateur might be able to engage this concept of form by reading through a score and hearing the music in imagination.Dynamic form parallels Eduard Hanslick's notion of tonend bewegte Formen. One might object that Hanslick and Langer are in conflict as Hanslick opposes while Langer supports the conviction that form is expressive of feeling, but that is moving beyond the matter at hand and suggests a superficial reading of both Hanslick and Langer. Hanslick asserts emphatically that music's meaning is not the arousal of emotion but does not deny feeling in music; Langer holds the same view. But Hanslick allows that "the words content and form are used not in the purely logical, but in an artistic sense." To me this suggests that he recognizes a nonliteral or metaphorical interpretation. He writes about the relationship of musical tones as "fraught with significance... congruity and opposition, their separating and combining, their soaring and subsiding-this is what comes in spontaneous forms before our inner contemplation and pleases us as beautiful." Certainly this parallels Langer's description of dynamic form.3 What is significant is that both philosophers are addressing the fluid, processual, active, movement-of-notes-through-time nature of musical form.The premise that forms are created by motion, are dynamic, is easily grasped by offering some examples. Fast cameras are able to take a series of photos of the movements of a pianist's hands giving still pictures of the moving forms created while performing a given passage.4 Alternately, forms are created by the movements of clouds or fog through the mist and early light; they are, in effect, quite literally moving forms. Cartoon characters generate moving forms through the [End Page 18] use of many drawings or more recently by means of computer animation. Time is a dynamic or moving form which we divide into hours... (shrink)

BackgroundRich in different kind of potent cells, embryos are used in modern regenerative medicine and research. Neurobiologists today are pushing the boundaries for what can be done with embryos existing in the transitory margins of medicine. Therefore, there is a growing need to develop conceptual frameworks for interpreting the transformative cultural, biological and technical processes involving these aborted, donated and marginal embryos. This article is a contribution to this development of frameworks.MethodsThis article examines different emotional, cognitive and discursive strategies used (...) by neurobiologists in a foetal cell transplantation trial in Parkinson’s disease research, using cells harvested from aborted embryos. Two interviews were analysed in the light of former observations in the processing laboratories, using the anthropologist Mary Douglas’s concept of pollution behaviour and the linguist, philosopher, psychoanalyst and feminist Julia Kristeva’s concept of the abjective to explain and make sense of the findings.ResultsThe findings indicate that the labour performed by the researchers in the trial work involves transforming the foetal material practically, as well as culturally, from trash to treasure. The transformation process contains different phases, and in the interview material we observed that the foetal material or cells were considered objects, subjects or rejected as abject by the researchers handling them, depending on what phase of process or practice they referred to or had experience of. As demonstrated in the analysis, it is the human origin of the cell that makes it abjective and activates pollution discourse, when the researchers talk of their practice.ConclusionsThe marginal and ambiguous status of the embryo that emerges in the accounts turns the scientists handling foetal cells into liminal characters in modern medicine. Focusing on how practical as well as emotional and cultural strategies and rationalizations of the researchers emerge in interview accounts, this study adds insights on the rationale of practically procuring, transforming and utilizing the foetal material to the already existing studies focused on the donations. We also discuss why the use and refinement of a tissue, around which there is practical consensus but cultural ambiguity, deserves further investigation. (shrink)

A leader in the modern commentary on ethics and philosophy, Mary Warnock casts a critical eye over her life and times.

Chapter Introduction. Syntactic focus theory and the phenomenon of secondary predication The primary goal of this monograph is to examine the interaction of ...

Fundamental principles : the nature of the dispute -- Types of euthanasia -- Psychiatric assisted suicide -- Neonates -- Incompetent adults -- Human life is sacred -- The slippery slope -- Medical views -- Four methods of easing death and their effect on doctors -- Looking further ahead.

How is hope to be found amid the ethical and political dilemmas of modern life? Writer and philosopher Mary Zournazi brought her questions to some of the most thoughtful intellectuals at work today. She discusses "joyful revolt" with Julia Kristeva, the idea of "the rest of the world" with Gayatri Spivak, the "art of living" with Michel Serres, the "carnival of the senses" with Michael Taussig, the relation of hope to passion and to politics with Chantal Mouffe and Ernesto Laclau. (...) A dozen stimulating minds weigh in with their visions of a better social and political order. The result is a collaboration - of writing, of thinking, and of politics - that demonstrates more clearly than any single-authored project could how ideas encountering one another can produce the vision needed for social change. (shrink)

This chapter first distinguishes between originality and creativity. True originality is rare, whether in art, science, or LEGO, because to be truly original means to have done something that no one has ever done before, and that no one could have anticipated. Most LEGO creations will not meet that condition, for with the exception of serious hobbyists who undertake massive builds, most players who make original creations are making creations that are commonplace. Painting or remolding or placing stickers on the (...) bricks counts against the spirit of LEGO creation. The chapter then discusses The LEGO Movie embodies the paradox that presents three conflicting models of creative LEGO play, illustrated by the Master Builders, Finn's father, and Emmet. The movie's creators were deliberately playing around with conflicting popular conceptions of creativity: creativity as madness, creativity as thinking outside the box, and creativity as vision. (shrink)

Zwischen den Schriften "Was ist Metaphysik?", " Vom Wesen des Grundes", "Kant und das Problem der Metaphysik", 1929, und "Platons Lehre von der Wahrheit", 1942, hat Heidegger nichts publiziert außer zwei kurzen Hölderlin-Vorträgen und seiner Rektoratsrede von 1933. In diesen dreizehn Jahren hat sowohl Heideggers Denkansatz als auch seine Denkhaltung eine Veränderung erfahren; es ist die in der Heidegger-Forschung so genannte "Kehre". Seit der 1976 aus dem Nachlaß begonnenen Herausgabe von Heideggers Vorlesungen fällt von Mal zu Mal mehr Licht auf (...) seinen Denkweg in besagter Zeitspanne. Zu Recht wurde die Vorlesung als die "Heideggers philosophisches Schaffen zentral prägende Darstellungsform" bezeichnet. Studiert man die Vorlesungen, so wird klar, wie es dazu kommt, daß Heideggers Denkwege in dieser Zeit oft "jäh im Unbegangenen aufhören"; so das Motto des Buches "Holzwege", das, 1950 erschienen, Vorträge und Aufsätze aus der Zeit von 1935 bis 1946 enthält.Die These der Autorin lautet: Der Grund für Heideggers gewandeltes Denken am Ende der genannten Zeitspanne besteht in Erfahrungen, die er im Gespräch mit Hölderlin seit der Vorlesung von 1934/35 gemacht hat. Was sich zwischen 1934/35 und der Heraklit-Vorlesung von 1944 abspielt und als "Kehre" angesprochen wird, bereitet Heideggers Denken vor, wie es in "Vorträge und Aufsätze", "Unterwegs zur Sprache" und in allen späteren Schriften zum Ausdruck kommt.Die Vorlesungen ab 1934/35 zeigen drei Schwerpunkte: die Auseinandersetzung mit Hölderlin, mit Nietzsche und mit den griechischen Denkern am Anfang der abendländischen Geschichte. Während die Philosophie Nietzsches in Heideggers Augen die Vollendung des mit Platon beginnenden Zeitalters der Metaphysik artikuliert, kündigt sich in der Dichtung Hölderlins der Anfang einer anderen Geschichte an. Diesen anderen Geschichtsanfang sieht Heidegger in einem Spannungsverhältnis zu dem, was die griechischen anfänglichen Denker gesagt haben. Ihre Gedanken legt er als ein Sprechen aus dem Erfahrungsbereich der Ἀλήθεια aus. Hölderlin und die Ἀλήθεια stehen also, in je verschiedener, jedoch aufeinander bezogener Weise, für den Anfang von Geschichte. Es ist Heideggers Überzeugung, daß sich Geschichte aus ihrem Anfang bleibend bestimmt. In der Untersuchung wird die Herkunft dieser Überzeugung aufgespürt, was auch irn Hinblick auf die unveröffentlichte Abhandlung von 1941 "Über den Anfang" von Bedeutung ist.Die Verfasserin legt den Boden frei, aus dem das Denken von Heideggers Spätschriften erwächst. Dazu analysiert sie die Freiburger Vorlesungen zwischen 1934/35 und 1944. Es geht ihr darum, die zentralen Gedanken Heideggers in statu nascendi und in ihrer Entfaltung, in ihrer Kontinuität und Veränderung zu verfolgen. Eine solche Verfahrensweise ist um so mehr geboten, als in vielen bisherigen Forschungsarbeiten der Wegcharakter von Heideggers Denken nicht ernst genommen wird und frühere Positionen mit späteren unachtsam vermischt werden. Beachtet man dagegen das Weghafte dieses Denkens, so kann eine Reihe gängiger Forschungsmeinungen korrigiert werden. Zum Beispiel tritt die Zeit-Thematik in Heideggers Spätphilosophie keineswegs "deutlich in den Hintergrund", sie hält sich vielmehr unter gewandelten Namen bis ans Ende seines Denkweges durch. (shrink)

This selection consists of extracts from writings of women concerned solely with the pursuit of abstract ideas, historically contextualized. The texts, for the most part, reflect issues widely debated in their contemporary societies. Extracts from lesser-known writers are also included, providing a diversity of arguments spanning four centuries and including some notable contemporary philosophers.

Nature and Mortality is a challenging look at some of the major public issues of our time through the eyes of one of our most influential and probing liberal humanists. It is a frank account on where we stand today on such controversial matters as human embryology, genetic engineering, euthanasia and abortion. Warnock's views may seem like a red rag to a bull to some, but her contribution to the debate is always stimulating. Enlivened by autobiographical anecdote and some delicious (...) side-swipes, Nature and Mortality is Mary Warnock at her most perceptive, wise and entertaining. (shrink)

The works of Mary Wollstonecraft (1759-1797) ranged from the early _Thoughts on the Education of Daughters_ to _The Female Reader_, a selection of texts for girls, and included two novels. But her reputation is founded on _A Vindication of the Rights of Woman_ of 1792. This treatise is the first great document of feminism—and is now accepted as a core text in western tradition. It is not widely known that the germ of Wollstonecraft’s great work came out of an earlier (...) and much shorter vindication—A Vindication of the Rights of Men (1790), written in the context of the issues raised by the French Revolution. This edition, which follows the model of other Broadview Editions in including a range of materials that help the reader to see the work in the context of its era out of which it emerged, is arranged chronologically, opening with Wollstonecraft’s “other vindication.” It also includes a wide range of other documents in appendices, as well as a comprehensive and authoritative introduction, chronology, and full index. (shrink)

The unity of aesthetic and teleological judgment, the third and earlier Critiques, is based on Kant′s discovery of a “heuristic method” for applying judgments regarding sense phenomena to abstract thought, a “second attention” which enables an “idea of the whole”. Synthetic judgment, basis for cognition and human action, depends on efficacy of non-empirical insights: the transcendental standpoint, “regulative” ideas, consciousness of “ought” and the reality of freedom, universality of natural mechanism, the principle of “fortuitous” purposiveness. The activity of reflective judgment (...) in the encounter with the beautiful, sublime, living, and two paradigmatic types of explanation, inspired by Spinoza′s distinction of extensio and cogitatio, permit Kant to bridge the gap between freedom and necessity, theoretical knowledge and morality. (shrink)

All religion and much philosophy has been concerned with the contrast between the ephemeral and the eternal. Human beings have always sought ways to overcome time, and to prove that death is not the end. This book consists then in an exploration of certain closely related ideas: personal identity, time, history and our commitment to the future, and the role of imagination in life.

This book presents a study of human intelligence beginning with a semantic theory and leading into a critique of music.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling (...) are very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling (...) are very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 67-70 [Access article in PDF] Response to Mary J. Reichling, "Intersections: Form, Feeling, and Isomorphism" David Stevenson Vassalboro, Maine Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. She states her purpose in the opening paragraph: "to examine and to elucidate various aspects of these (...) three concepts in her [Susanne Langer's] writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education."A philosophy of music education must be the focus in all ensuing debate, and must remain of paramount importance. Arguments, especially dialectic arguments, are not won or lost; they merely strip away the outer garments until more and more of the truth is exposed. My thoughts regarding Reichling's essay are offered in this vein.Reichling amply makes the point that music is a dynamic moving form. She asserts that "Langer argues that form is not separable from content," clarifying further by saying that "By content Langer is designating the form's import or meaning." And she offers other examples of dynamic, moving forms, among them, "forms created by movements of clouds or fog through the mist and early light." [End Page 67]At this point, perhaps interjecting the notion of perception is in order. I would suggest that the cloud formations offer no content or meaning outside of the viewer's perceptions or imagination. Music (art), being the nebulous subject that it is, ensconced in subjectivity and steeped in perception, both interpersonal and intrapersonal at the same time, exists to be taken by individuals, each at his or her own level of accomplishment, understanding, and interest. Therefore, does the meaning inhere in the form, as Langer and Reichling assert, or is it assigned by the listener (in the case of music) or by the viewer (in the case of the cloud formation)? "If the doors of perception were cleansed every thing would appear to man as it is: infinite."1 William Blake's observation notwithstanding, the truth is that perception is the only thing that we have with which to view our existence. I believe that there is such a thing as absolute truth, and that reality does exist. However, we mere mortals lack the ability to view the world through anything other than our own perceptions. The knowledge or meaning gained through contemplation of the form is, in all likelihood, quite different for each observer.Likewise, imagination and conceptual ability play a role in interpreting what the senses have perceived. Langer, and by quotation, Reichling, offers the notion of a red dot placed on the rim of a spinning wheel that appears to the viewer as a red circle. "When the spinning stops, the form, the red circle, evaporates. Did it really exist? Does it have ontological status? Is it merely an illusion?" I asked my students to close their eyes and imagine a spinning wheel with a red dot placed on the rim. I asked them, "As the wheel spins, do you see the dot?" The answer was that they saw a red circle. Did they really see a red circle, or even a spinning wheel? Of course not, we were in a music classroom. Yet they were able to conceptualize or imagine the image, and I would suggest that that carries more weight in the realm of art than does actual ontological status.The problem with the experiment of the preceding paragraph is that "Langer argues that form is not separable from content, writing that it is not possible 'to divorce the logical form from its one embodiment or expression.'" In the subsequent paragraph Reichling states, When the music stops, when the ballet is concluded, when the play ends, when the wheel stops spinning, memory may remain but the content (content as meaning-my parenthetical interjection), the feeling, the red circle, the image the dancer created is gone. Is this illogical or has knowledge... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 67-70 [Access article in PDF] Response to Mary J. Reichling, "Intersections: Form, Feeling, and Isomorphism" David Stevenson Vassalboro, Maine Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. She states her purpose in the opening paragraph: "to examine and to elucidate various aspects of these (...) three concepts in her [Susanne Langer's] writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education."A philosophy of music education must be the focus in all ensuing debate, and must remain of paramount importance. Arguments, especially dialectic arguments, are not won or lost; they merely strip away the outer garments until more and more of the truth is exposed. My thoughts regarding Reichling's essay are offered in this vein.Reichling amply makes the point that music is a dynamic moving form. She asserts that "Langer argues that form is not separable from content," clarifying further by saying that "By content Langer is designating the form's import or meaning." And she offers other examples of dynamic, moving forms, among them, "forms created by movements of clouds or fog through the mist and early light." [End Page 67]At this point, perhaps interjecting the notion of perception is in order. I would suggest that the cloud formations offer no content or meaning outside of the viewer's perceptions or imagination. Music (art), being the nebulous subject that it is, ensconced in subjectivity and steeped in perception, both interpersonal and intrapersonal at the same time, exists to be taken by individuals, each at his or her own level of accomplishment, understanding, and interest. Therefore, does the meaning inhere in the form, as Langer and Reichling assert, or is it assigned by the listener (in the case of music) or by the viewer (in the case of the cloud formation)? "If the doors of perception were cleansed every thing would appear to man as it is: infinite."1 William Blake's observation notwithstanding, the truth is that perception is the only thing that we have with which to view our existence. I believe that there is such a thing as absolute truth, and that reality does exist. However, we mere mortals lack the ability to view the world through anything other than our own perceptions. The knowledge or meaning gained through contemplation of the form is, in all likelihood, quite different for each observer.Likewise, imagination and conceptual ability play a role in interpreting what the senses have perceived. Langer, and by quotation, Reichling, offers the notion of a red dot placed on the rim of a spinning wheel that appears to the viewer as a red circle. "When the spinning stops, the form, the red circle, evaporates. Did it really exist? Does it have ontological status? Is it merely an illusion?" I asked my students to close their eyes and imagine a spinning wheel with a red dot placed on the rim. I asked them, "As the wheel spins, do you see the dot?" The answer was that they saw a red circle. Did they really see a red circle, or even a spinning wheel? Of course not, we were in a music classroom. Yet they were able to conceptualize or imagine the image, and I would suggest that that carries more weight in the realm of art than does actual ontological status.The problem with the experiment of the preceding paragraph is that "Langer argues that form is not separable from content, writing that it is not possible 'to divorce the logical form from its one embodiment or expression.'" In the subsequent paragraph Reichling states, When the music stops, when the ballet is concluded, when the play ends, when the wheel stops spinning, memory may remain but the content (content as meaning-my parenthetical interjection), the feeling, the red circle, the image the dancer created is gone. Is this illogical or has knowledge... (shrink)

On March 11, 2020 the World Health Organization classified COVID‐19, caused by Sars‐CoV‐2, as a pandemic. Although not much was known about the new virus, the first outbreaks in China and Italy showed that potentially a large number of people worldwide could fall critically ill in a short period of time. A shortage of ventilators and intensive care resources was expected in many countries, leading to concerns about restrictions of medical care and preventable deaths. In order to be prepared for (...) this challenging situation, national triage guidance has been developed or adapted from former influenza pandemic guidelines in an increasing number of countries over the past few months. In this article, we provide a comparative analysis of triage recommendations from selected national and international professional societies, including Australia/New Zealand, Belgium, Canada, Germany, Great Britain, Italy, Pakistan, South Africa, Switzerland, the United States, and the International Society of Critical Care Medicine. We describe areas of consensus, including the importance of prognosis, patient will, transparency of the decision‐making process, and psychosocial support for staff, as well as the role of justice and benefit maximization as core principles. We then probe areas of disagreement, such as the role of survival versus outcome, long‐term versus short‐term prognosis, the use of age and comorbidities as triage criteria, priority groups and potential tiebreakers such as ‘lottery’ or ‘first come, first served’. Having explored a number of tensions in current guidance, we conclude with a suggestion for framework conditions that are clear, consistent and implementable. This analysis is intended to advance the ongoing debate regarding the fair allocation of limited resources and may be relevant for future policy‐making. (shrink)

This book offers a new account of what it is to act for a normative reason. The first part of the book examines the problems of causal accounts of acting for reasons and suggests to solve them by a dispositional approach. The author argues for a dispositional account which unites epistemic, volitional, and executional dispositions in a complex normative competence. This ‘Normative Competence Account’ allows for more and less reflective ways of acting for normative reasons. The second part of the (...) book clarifies the relation between the normative reason that an agent acts for and his or her motivating reasons. It refutes the widely held ‘identity view’ that acting for a normative reason requires the normative reason to be identical with a motivating reason. The author describes how normative reasons are related to motivating reasons by a relation of correspondence, and proposes a new understanding of how normative reasons explain those actions that are performed for them. Determined by Reasons engages with current debates from a wide range of different philosophical areas, including action theory, metaethics, moral psychology, epistemology, and ontology, to develop a new account of acting for normative reasons. (shrink)

Non-invasive neuroimaging in humans permits direct investigation of the potential role for mesodiencephalic structures in consciousness. Activity in the superior colliculus can be correlated with the contents of consciousness, but it can be also identified for stimuli of which the subject is unaware; and consciousness of some types of visual stimuli may not require the superior colliculus. (Published Online May 1 2007).

Although artificial intelligence has been given an unprecedented amount of attention in both the public and academic domains in the last few years, its convergence with other transformative technologies like cloud computing, robotics, and augmented/virtual reality is predicted to exacerbate its impacts on society. The adoption and integration of these technologies within industry and manufacturing spaces is a fundamental part of what is called Industry 4.0, or the Fourth Industrial Revolution. The impacts of this paradigm shift on the human operators (...) who continue to work alongside and symbiotically with these technologies in the industry bring with it novel ethical issues. Therefore, how to design these technologies for human values becomes the critical area of intervention. This paper takes up the case study of robotic AI-based assistance systems to explore the potential value implications that emerge due to current design practices and use. The design methodology known as Value Sensitive Design (VSD) is proposed as a sufficient starting point for designing these technologies for human values to address these issues. (shrink)

There is a trade-off between specificity and accuracy in existing models of belief. Descriptions of agents in the tripartite model, which recognizes only three doxastic attitudes—belief, disbelief, and suspension of judgment—are typically accurate, but not sufficiently specific. The orthodox Bayesian model, which requires real-valued credences, is perfectly specific, but often inaccurate: we often lack precise credences. I argue, first, that a popular attempt to fix the Bayesian model by using sets of functions is also inaccurate, since it requires us to (...) have interval-valued credences with perfectly precise endpoints. We can see this problem as analogous to the problem of higher order vagueness. Ultimately, I argue, the only way to avoid these problems is to endorse Insurmountable Unclassifiability. This principle has some surprising and radical consequences. For example, it entails that the trade-off between accuracy and specificity is in-principle unavoidable: sometimes it is simply impossible to characterize an agent’s doxastic state in a way that is both fully accurate and maximally specific. What we can do, however, is improve on both the tripartite and existing Bayesian models. I construct a new model of belief—the minimal model—that allows us to characterize agents with much greater specificity than the tripartite model, and yet which remains, unlike existing Bayesian models, perfectly accurate. (shrink)

This paper sets out from the hypothesis that the embodied competences and expertise which characterise dance and sports activities have the potential to constructively challenge and inform phenomenological thinking. While pathological cases present experiences connected to tangible bodily deviations, the specialised movement practices of dancers and athletes present experiences which put our everyday experiences of being a moving body into perspective in a slightly different sense. These specialised experiences present factual variations of how moving, sensing and interacting can be like (...) for us as body-subjects. To use of these sources inevitably demands that qualitative research methodologies – especially short-term ethnographical fieldwork – form part of the research strategy and qualify the way the researcher involves a second-person perspective when interviewing dancers and athletes about their experiences. In the subsequent phases analysing the data generated, I argue that researchers first strive to achieve internal consistency of empirical themes identified in the case of movement practices in question thus keeping to a contextualised and lived perspective, also denoted as an emic perspective. In subsequent phases phenomenological insights are then actively engaged in the exploration and discussion of the possible transcendental structures making the described subjective experiences possible. The specialised and context-defined experiences of ‘what a moving body can be like’ are accordingly involved as factual variations to constructively add to and potentially challenge phenomenological descriptions. Lastly, I exemplify how actual research strategies have been enacted in a variety of projects involving professional dancers’, golfers’ and sports dancers’ practices and experiences, respectively. (shrink)