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

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

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

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

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

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

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

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 117-120, Winter 2020.

In a recent article, ‘An Epistemic Dilemma for Actual Intentionalism’, Saam Trivedi argues that the way we ought to interpret artworks is best understood using the model proposed by hypothetical intentionalism. Trivedi alleges that actual intentionalism faces a serious dilemma, the upshot of which is that actual intentionalists must choose between redundancy and indeterminacy. Largely on the basis of this dilemma, he concludes that even if actual intentionalism is descriptively accurate, it is prescriptively untenable. In this essay, (...) I focus on this alleged dilemma and argue that, contra Trivedi, it fails to undermine the prescriptive legitimacy of moderate actual intentionalism. That is, Trivedi's dilemma does not offer us a good reason to refrain from working to understand works of art under the methodological guidance of actual intentionalism. (shrink)

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

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

Friendly persuasion, in contrast to deterrent measures like tax audits and penalties on underreported taxes, is a positive and possibly a cost effective method of increasing taxpayer compliance. However, prior studies have failed to show that friendly persuasion has a significant impact on compliance (Blumenthal et al., 2001; McGraw and Scholz, 1991). In our study, in contrast to prior studies, we examine the impact of generating and reading reasons supporting compliance as friendly persuasion on individuals' income reporting behavior as well (...) as control for gender effects. Specifically, we predict an interaction effect between friendly persuasion and gender on compliance behavior. We carried out a 2 (friendly persuasion and control) × 2 (men and women) full factorial experiment, where participants earned $30 by completing two questionnaires. Participants in the friendly persuasion group were required first to generate and second to read a list of reasons why they should comply fully. Afterwards, participants in both groups were asked to report the income they earned and pay tax on the reported income. The results show a significant main effect for gender as well as a significant interaction effect between gender and friendly persuasion on income reported. Women in the friendly persuasion group reported significantly higher income compared to men in that group. Other comparisons were not significant. Policy implications for increasing taxpayers' ethics and compliance are highlighted. (shrink)

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

With improvement in medical services in the last few years, there has been a constant rise in the geriatric population throughout the world, more so in the developing countries. The elderly are highly prone to develop psychiatric disorders, probably because of age related changes in the brain, concomitant physical disorders, as well as increased stress in later life. Psychiatric disorders in this population may have a different presentation than in other groups and some of psychopathologies might be mistaken for normal (...) age related changes by an unwary clinician. Therefore the need of the day is to train psychiatrists and physicians to better recognize and manage mental disorders in this age group. (shrink)

The authors argue that the chain of events which they describe is the end-product of a century's effort to convert Hindus into a 'proper' modern nation and a conventional ethnic majority. Simultaneously, the effort is equally to turn the followers of other Indian faiths into well-behaved ethnic minorities and nationalities. The American model of a 'melting pot' is being imposed with the expectation that it will dissolve India's primordial identities. A society which has for centuries been a salad bowl of (...) diverse communities, each identifiably different but constituting parts of a whole, is being forced to conform to the pattern of a 'proper' nation-state. (shrink)

This study used a laboratory experiment with monetary incentives to test the impact of three personal factors (moral reasoning, value orientation and risk preference), and three situational factors (the presence/absence of audits, tax inequity, and peer reporting behavior), while controlling for the impact of other demographic characteristics, on tax compliance. Analysis of Covariance (ANCOVA) reveals that all the main effects analyzed are statistically significant and robustly influence tax compliance behavior. These results highlight the importance of obtaining a proper understanding of (...) these factors for developing effective policies for increasing the level of compliance, and indicate that standard enforcement polices based on punishment alone should be supplemented by an information system that would acquaint tax payers with the compliance level of other tax payers; reinforce the concept of fairness of the tax system among tax payers; and develop programs that enhance and appeal to a taxpayer's moral conscience and reinforce social cohesion. (shrink)

Millions of memes are created and shared every day on social media platforms. Memes are a great tool to spread humour. However, some people use it to target an individual or a group generating offensive content in a polite and sarcastic way. Lack of moderation of such memes spreads hatred and can lead to depression like psychological conditions. Many successful studies related to analysis of language such as sentiment analysis and analysis of images such as image classification have been performed. (...) However, most of these studies rely only upon either one of these components. As classifying meme is one problem which cannot be solved by relying upon only any one of these aspects, the present work identifies, addresses, and ensembles both the aspects for analyzing such data. In this research, we propose a solution to the problems in which the classification depends on more than one model. This paper proposes two different approaches to solve the problem of identifying hate memes. The first approach uses sentiment analysis based on image captioning and text written on the meme. The second approach is to combine features from different modalities. These approaches utilize a combination of glove, encoder-decoder, and OCR with Adamax optimizer deep learning algorithms. Facebook Challenge Hateful Meme Dataset is utilized which contains approximately 8500 meme images. Both the approaches are implemented on the live challenge competition by Facebook and predicted quite acceptable results. Both approaches are tested on the validation dataset, and results are found to be promising for both models. (shrink)

The aim of this chapter is to describe a type of law governing involuntary treatment that is based on decision-making capability and not on risk of harm to self or others. It is consistent with the legal and ethical principles followed in general medicine, and non-discriminatory against people with a mental illness. The rationale behind the proposal is outlined, as well as its principles and main features. It is argued that this type of law could be adapted to the needs (...) of low and middle-income countries without sacrificing its underlying principles, and that it lends itself to such adaptation much better than traditional mental health legislation. (shrink)

Today, business corporations across the globe are moving beyond the short-term myopic goal of profit maximization to long-term sustainability goals involving environmental, social and corporate governance goals. This is due to the growing realization that ESG factors constitute a significant source of risk for the business and can affect their financial returns. Academic research has shown that improved ESG performance has lowered risk and enhanced financial performance but results seemed to vary widely across countries. Regrettably, this subject remains largely un-researched (...) in the context of emerging economies, including India. This paper attempts to fill this much needed gap in sustainability literature in one of the largest emerging market economies, India. It empirically examines the impact of environmental, social and corporate governance performance of companies on their financial performance, in India, using panel regression models. The findings of the study indicate that good corporate ESG performance enhances financial performance. The findings of this study have important implications for investors, corporate management as well as policymakers and regulators. (shrink)

_Despite advances in standard of living of the population, the condition of widows and divorced women remains deplorable in society. The situation is worse in developing nations with their unique social, cultural and economic milieu, which at times ignores the basic human rights of this vulnerable section of society. A gap exists in life expectancies of men and women in both developing and developed nations. This, coupled with greater remarriage rates in men, ensures that the number of widows continues to (...) exceed that of widowers. Moreover, with women becoming more educated, economically independent and aware of their rights, divorce rates are increasing along with associated psychological ramifications. The fact that widowed/divorced women suffer from varying psychological stressors is often ignored. It has been concluded in various studies that such stressors could be harbingers of psychiatric illnesses (e.g., depression, anxiety, substance dependence), and hence should be taken into account by treating physicians, social workers and others who come to the aid of such women. A change in mindset of the society is required before these women get their rightful place, for which a strong will is needed in the minds of the people, and in law-governing bodies._. (shrink)

Interpretation of the yoga philosophy of Aurobindo Ghose, 1872-1950.