Social stimuli grab our attention: we attend to them in an automatic and bottom-up manner, and ascribe them a higher degree of saliency compared to non-social stimuli. However, it has rarely been investigated how variations in attention affect the processing of social stimuli, although the answer could help us uncover details of social cognition processes such as action understanding. In the present study, we examined how changes to bottom-up attention affects neural EEG-responses associated with intentional action processing. We induced an (...) increase in bottom-up attention by using hypnosis. We recorded the electroencephalographic µ-wave suppression of hypnotized participants when presented with intentional actions in first and third person perspective in a video-clip paradigm. Previous studies have shown that the µ-rhythm is selectively suppressed both when executing and observing goal-directed motor actions; hence it can be used as a neural signal for intentional action processing. Our results show that neutral hypnotic trance increases µ-suppression in highly suggestible participants when they observe intentional actions. This suggests that social action processing is enhanced when bottom-up attentional processes are predominant. Our findings support the Social Relevance Hypothesis, according to which social action processing is a bottom-up driven attentional process, and can thus be altered as a function of bottom-up processing devoted to a social stimulus. (shrink)

Ethical scandals in business are all too common. Due to the increased public awareness of the transgressions of business executives and the potential costs associated with these transgressions, ethical leadership is among the top qualities sought by organizations as they hire and promote managers. This search for ethical leaders intersects with a labor force that is becoming more racially diverse than ever before. In this paper, we propose that the ethical leadership qualities of business leaders may be perceived differently depending (...) upon the race of the leader. Using two experimental studies in the USA, we examine the difference in ethical leadership perceptions between a Black hypocritical CEO and an ethical CEO. Next, we consider a Black ethically ambiguous CEO and an ethical CEO. The findings indicate that a Black leader faces larger negative impact in hypocritical and ambiguous conditions than a similar White leader. There were no significant race effects in the ethical conditions in which a leader demonstrated a personal commitment to ethics through words or actions. We discuss the implications of these findings. (shrink)

Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman's allographic/autographic distinction, Adorno's critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges (...) that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book's commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. Chapters 4 and 5 use the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work, after which chapter 6 examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy. (shrink)

Following previous work that shows engineering students possess different levels of understanding of ethics—implicit and explicit—this study focuses on how students’ implicit understanding of engineering ethics influences their team discussion process, in cases where there is significant divergence between their explicit and implicit understanding. We observed student teams during group discussions of the ethical issues involved in their engineering design projects. Through the micro-scale discourse analysis based on cognitive ethnography, we found two possible ways in which implicit understanding influenced the (...) discussion. In one case, implicit understanding played the role of intuitive ethics—an intuitive judgment followed by reasoning. In the other case, implicit understanding played the role of ethical insight, emotionally guiding the direction of the discussion. In either case, however, implicit understanding did not have a strong influence, and the conclusion of the discussion reflected students’ explicit understanding. Because students’ implicit understanding represented broader social implication of engineering design in both cases, we suggest to take account of students’ relevant implicit understanding in engineering education, to help students become more socially responsible engineers. (shrink)

Painting -- Photography and film -- Architecture and the third dimension -- Music -- Literature -- Performance -- Popular art and everyday aesthetics -- Classic sources -- Contemporary sources.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet (...) bells with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

This study explores how peer advising affects student project teams’ discussions of engineering ethics. Peer ethics advisors from non-engineering disciplines are expected to provide diverse perspectives and to help engineering student teams engage and sustain ethics discussions. To investigate how peer advising helps engineering student teams’ ethics discussions, three student teams in different peer advising conditions were closely observed: without any advisor, with a single volunteer advisor, and with an advising team working on the ethics advising project. Micro-scale discourse analysis (...) based on cognitive ethnography was conducted to find each team’s cultural model of understanding of engineering ethics. Cultural-historical activity theory analysis was also conducted to see what influenced each team’s cultural model. In cultural model, the engineering team with an ethics advising team showed broader understanding in social implications of engineering. The results of CHAT analysis indicated that differences in rules, community, and division of labor among three teams influenced the teams’ cultural models. The CHAT analysis also indicated that the peer advisors working on the ethics advising project and the engineering team working on engineering design project created a collaborative environment. The findings indicated that collaborative environment supported peer ethics advising to facilitate team discussions of engineering ethics. (shrink)

Given that the benefits of Corporate Political Activity (CPA) are usually granted in the form of favorable industry regulation that benefits all industry participants rather than a single firm, small politically inactive firms are often able to take advantage of the benefits from CPA without investing in them. We argue that the free‐riding problem is context specific. Situations of extreme uncertainty create institutional voids that enable individual firms to more fully appropriate the returns from their CPA. In this paper, we (...) examine the influence that CPA had on the U.S. government’s disbursements of TARP funding in 2008. We find that politically active firms were able to avoid the free‐rider problem by obtaining more instances of TARP funding when compared to firms that were not politically active. In addition to being more likely to receive TARP funds, politically active firms received larger amounts of TARP funding than those firms who were not politically active. (shrink)

Burning fossil fuel in the North American continent contributes more to the CO2 global warming problem than in any other continent. The resulting climate changes are expected to alter food production. The overall changes in temperature, moisture, carbon dioxide, insect pests, plant pathogens, and weeds associated with global warming are projected to reduce food production in North America. However, in Africa, the projected slight rise in rainfall is encouraging, especially since Africa already suffers from severe shortages of rainfall. For all (...) regions, a reduction in fossil fuel burning is vital. Adoption of sound ecological resource management, especially soil and water conservation and the prevention of deforestation, is important. Together, these steps will benefit agriculture, the environment, farmers, and society as a whole. (shrink)

African Philosophy is a collection of previously unpublished essays that address epistemological and metaphysical concerns that have emerged from the sub-Saharan regions of Africa. The primary focus of the book is on traditional African conceptions of mind, person, personal identity, truth, knowledge, understanding, objectivity, and reality. The collection also discusses traditional African conceptions of causation, destiny, and free will.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet (...) bells with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

This editorial introduces the Journal of Consciousness Studies special issue on "Animal Consciousness". The 15 contributors and co-editors answer the question "How should we study animal consciousness scientifically?" in 500 words or fewer.

This essay discusses how ontological commitments within modern Western culture are no less problematic than those within traditional African cultures. Each posits unobservable entities to explain the experiential world, and neither has ready access to those posits held as grounding or as otherwise determining what is experienced. It looks at the conceptions of persons in Western and African traditions and suggests that each tradition can learn from the other.

In lieu of an abstract, here is a brief excerpt of the content:A Literary Common GroundLee Rust BrownLet me make note of a few things that have occurred to me during this conference. Some of these will be observations; some will be practical inferences. One of them, though, involves the crossing of an expectation, or maybe a fear, I had brought with me to Minneapolis. Since this has to do with the whole tone of the conference, we might as well (...) begin with it.It, of course, was the question of the polemical nature of this gathering. Would this conference be diagnostic and denunciatory in nature, or would it seek to start something truly new? Certainly we all feel the need of something new—not new, either, in the sense that movements or ideological positions claim to be new, but in the sense of a fresh gathering of common attention in the place where literature is, the place where each of us who loves literature already goes alone. This would be a possibility for something original rather than just another novelty—which makes the question of polemics all the more urgent. An association that founded itself in complaint would be only one more identity-group making a virtue out of its grudge. And the grudge, in that case, would have been a sad reflex of feeling superseded and powerless.But where have the polemics against current orthodoxies been? I am delighted not to have heard them in any strenuous capacity. Even their relative absence hasn’t commanded any extended attention, and that may be an even more telling point. I take this to be partly the result of foresight and good sense. But the clean air here has been more than a reward for our mutual constraint. Instead, it seems evidence of the fact [End Page 193] that, when literature occupies our attention, there is no need for self-defense. Justice, or justification, happens by itself when we “do our own work,” as Socrates recommended.What is our own work, then? This association has made a point, it seems, of declining to prescribe what it should be. The only thing we are absolutely sure of is that its subject is literature, and that its standards and rewards should be of a literary nature. From there the field opens up—and this conference has succeeded in keeping it open in some very concrete ways.Let’s think briefly about the two panels we attended yesterday. The morning panel on “Intellectual Craftsmanship” seemed unified in its concern with the disciplined ways by which we commit ourselves to literary experience. Literature itself, as well as what we do with it, teaches us this discipline, which is “aesthetic” in every sense of that word. Roger Shattuck set the tone when he described the discipline of reading as an issue of preparation and assimilation on the one hand, and as a kind of complete perceptual openness on the other. Such openness, in our normal experience, allows us to be surprised, to see actual things, perhaps, instead of their institutional categories. But literature also requires that we craft our receptivity. The surprises we prepare ourselves to undergo are achieved breakthroughs, which makes them no less unpredictable but all the more deeply affecting.Criticism cultivates such surprising experience. (I think experience is the crucial word, by the way, since everyone on that first panel seemed to be devoted to a kind of free empiricism.) The spectacular moments of visionary power that Robert Alter isolated in Dickens are places that startle and disturb us—and we track our own surprise, and intensify it, when we look closely at how those dark places of power emerge from Dickens’s refiguring of a world where darkness otherwise tends toward an entirely unredeemable opacity. We have to read “synesthetically,” as Shattuck says, “with both eyes open,” to let ourselves be for a moment blinded by such literary places.Once again, the discipline of reading—devotedly and resistantly—frees us for the achieved experience. Slowing down, in Sven Birkerts’s sense of “retardation and deceleration,” is precisely a matter of stepping into a field of experience shaped (or, in an auditory sense, fostered and conserved) by the special demands of literature. It... (shrink)

Although there are compelling reasons for believing otherwise, compassion cannot provide a basis for grounding a viable theory of civil and political society. Firstly, it is often irrational or personally irresponsible to be compassionate. Secondly, relations based on compassion do not require characteristics that are essential for a viable civil and political society. Thirdly, the unpredictable consequences of compassion are such that compassion alone is not sufficient for grounding a viable civil and political society. Finally, obligating people to be compassionate (...) is antithetical to what is required for being compassionate. (shrink)

In most general terms, my paper is about the mixture of agendas in the recording industry, where documentation, with its apparently educational implications, becomes difficult to distinguish from a range of distinct, even opposed, goals—which I group under the heading "fabrication." After a few historical remarks, I develop the concept of what I call works of phonography —that is, sound-constructs created by the use of recording machinery. I detail their ontological characteristics, as contrasted the features of ordinary musical works. WPs (...) are—I claim—replete. They are autographic. And they are phono-accessible—that is, accessible only through playbacks of authentic instances of their record artifacts, e.g., cassette tapes, CDs, etc. I then turn to Theodore Gracyk's recent study of rock music, arguing that his account is formally similar to my account of WPs. This raises the question of whether there be counter-examples to Gracyk's account—particularly of the sort that show his view to be too broad. I bring this to a focus finally by a comparison of rock recordings with jazz recordings—two classes that Gracyk tries to keep ontologically distinct. I argue that many classic jazz recordings are artifacts of the recording studio, no less than those Gracyk identifies as pure cases of rock music. In the same vein, I argue that, once recorded, the improvisational music of jazz is deformed—indeed, that it acquires features of WPs. This has the further implication that Gracyk cannot preserve his sharp distinction between rock and jazz records that he want's to maintain. (shrink)

What aspects of philosophical style really count? What aspects of philosophical writing count only as matters of style? Some features of philosophical writing and talking do seem to be of merely ornamental significance, worthy subjects only of gossip or banter. We are familiar with the academic sneer with which poor Professor Kluck is charged with having “somehow managed to confuse” one thing with another. A more serious stylistic matter, of course, would be Professor Kluck’s own willingness to use the apparatus (...) of modal logic in his pathetic endeavors. Or is that a matter of style? If so, does the same concept apply to such amusing and affective phenomena as accent and cadence? We have heard Professor Chisholm’s rising terminal voice inflection, if only because it is so widely imitated. One thinks of Professor Earle’s favorite condemnation “boring” pronounced with an “o” which seems to touch base on every vowel sound known to man. We are impressed by Goodman’s pithiness, and we register his penchant for alliterative triples. We compare Bergmann’s Laocöonian baroque prose with Quine’s soothing urbanity. It is an interesting fact that these are the features which come to mind when we begin to consider the whole question of philosophical style. Have we so internalized the parts that really count that they seem “white,” neutral, style-free? There might well be historical factors which encourage such blindness. Varying degrees of lingering transcendentalism about philosophical method would not be easily reconciled with the awful idea that one is merely speaking a local dialect. Of course the transcendentalism itself is rarely owned up to as such, as if it is assumed that it is Reason which speaks but that it is in poor taste to say so. Alternative methods, when confronted, generate distaste, horror, or the head-shaking sort of wonderment of the Eighteenth Century Parisian who wondered how on earth anyone could be a Persian. (shrink)

Research has found many positive benefits to person‐organization (PO) fit, for both individuals and the organization. However, PO misfit has received far less attention in the literature. In this article, we look specifically at PO misfit caused by the differing political values and beliefs of the CEO and employee. We argue that CEO activism influences employee perceptions of ideological misfit (IM), whereby differing political beliefs between employees and their activist CEO can impact workplace outcomes. We consider how peer group reactions, (...) ethical climate, external needs fulfillment, and moral identity serve as boundary conditions for perceptions of PO misfit and related organizational outcomes. We also examine antecedents of CEO activism. Drawing on academic literature from both the micro and macro perspectives of management research, we introduce a conceptual model and discuss implications for the firm and its employees. (shrink)