This book is devoted to the reintroduction of the remarkable approach to sociological inquiry developed by Harvey Sacks. Sacks's original analyses - concerned with the lived detail of action and language-in-interaction, discoverable in members' actual activities - demonstrated a means of doing sociology that had previously seemed impossible. In so doing, Sacks provided for highly technical, detailed, yet stunningly simple solutions to some of the most trenchant troubles for the social sciences relating to language, culture, meaning, knowledge, action, and social (...) organisation. In this original collection, scholars working in a range of different fields, including sociology, human geography, communication and media studies, social psychology, and linguistics, outline the ways in which their work has been inspired, influenced, and shaped by Sacks's approach, as well as how their current research is taking Sacks's legacy forward in new directions. As such, the collection is intended to provide both an introduction to, and critical exploration of, the work of Harvey Sacks and its continued relevance for the analysis of contemporary society. (shrink)

During the course of this article we examine data gathered from two research meetings in which coding issues and data organization are being discussed in relation to the use of the software package Atlas.ti. The meetings were concerned with the organization and coding of semi-structured interviews carried out by three different groups as part of a wider collaborative research project. A number of papers have considered aspects of coding practice in teams or small groups; however, little work exists on the (...) analysis of first order collaborative CAQDAS coding interaction. In doing so, this article re-specifies formal coding and collaboration models through the examination of practical methods of situated interaction and data sense-making in the course of producing social scientific facts and explanation. In this sense, the analysis reveals the way in which the professional argot of social science codes can be understood to rely on everyday methods of sense-making within team based contexts. These methods can be understood to be realized through the fine-detailed ‘granular’ categorical and sequential specifics of talk-in-meetings where matters relating to social scientific reasoning, accountability, stakeholders’ interests, defeasible and defensible reasoning protocols, disciplinary rights and the ‘search for underlying patterns’ are salient features and recognizable and accountable concerns for team members as a routine aspect of doing qualitative social science. (shrink)

James M. Robins, Richard Scheines, Peter Spirtes, and Larry Wasserman. The Limits of Causal Knowledge.

"The doctrine of materialism is one of the perennial and most controversial ideas in the arts and sciences. Throughout history it has aroused strong passions, and in the Sixteenth and Twentieth centuries was a doctrine over which people were persecuted and killed. Yet it has been equally aligned with empirical, enlightened and tolerant thinking. This book explores the fascinating and important philosophy of materialism in an engaging and thought-provoking way. Opening with an overview of the ideas of some of the (...) most important materialists, including Lucretius, Epicurus, Hobbes and Hume up to Darwin and Marx, Brown and Ladyman show how materialism's origins were twofold: it was an early form of scientific explanation but also an intellectual outlook, or belief-system, about the world in general. They then explain how materialism's beginnings as imaginative vision of the true nature of things faced a major challenge from modern physics, in the form of quantum theory and the general theory of relativity. This posed major questions for materialism: how could it be reconciled with unobservable entities and new discoveries about the nature of space and time? As the authors show, out of this challenge materialism did not die but re-emerged - as the new doctrine of physicalism. Drawing on colourful examples throughout - from modern physics, the nature of the mind, and atheism - the authors argue that whilst materialism may not have all the answers, its humanism and staunch belief in observation, evidence and experiment remains our best hope in a fragmented and hyper-specialised world"--. (shrink)

We provide a formulation of physicalism, and show that this is to be favoured over alternative formulations. Much of the literature on physicalism assumes without argument that there is a fundamental level to reality, and we show that a consideration of the levels problem and its implications for physicalism tells in favour of the form of physicalism proposed here. Its hey elements are, fast, that the empirical and substantive part of physicalism amounts to a prediction that physics will not posit (...) new entities solely for the purpose of accounting for mental phenomena, nor new entities with essentially mental characteristics such as propositioned attitudes or intentions; secondly, that physicalism can safely make do with no more than a weak global formulation of supervenience. (shrink)

Neoliberalism co-opts noisy riots like feminism and hardcore music--can melancholic siren songs fight back?

The doctrine of materialism is one of the most controversial in the history of ideas. For much of its history it has been aligned with toleration and englightened thinking, but it has also aroused strong, often violent, passions among both its opponents and proponents. This book explores the deelopment of materialism in an engaging and thought-provoking way and defends the form it takes in the twenty-first century.

The history of science and the philosophy of science have a long and tangled relationship. On the one hand, philosophical reflection on science can be guided, shaped, and challenged by historical scholarship—a process begun by Thomas Kuhn and continued by successive generations of ‘post-positivist’ historians and philosophers of science. On the other hand, the activity of writing the history of science raises methodological questions concerning, for instance, progress in science, realism and antirealism, and the semantics of scientific theories, questions which (...) are the subject of continued debate in philosophy. Clearly the history and the philosophy of science will continue to challenge each other's research agendas and guiding assumptions. (shrink)

Drama, at least according to the Aristotelian view, is effective inasmuch as it successfully mirrors real aspects of human behavior. This leads to the hypothesis that successful dramas will portray fictional social networks that have the same properties as those typical of human beings across ages and cultures. We outline a methodology for investigating this hypothesis and use it to examine ten of Shakespeare’s plays. The cliques and groups portrayed in the plays correspond closely to those which have been observed (...) in spontaneous human interaction, including in hunter-gatherer societies, and the networks of the plays exhibit “small world” properties of the type which have been observed in many human-made and natural systems. (shrink)

One of the more compelling features of Denis Dutton’s The Art Instinct is its theoretical parsimony. Utilizing what essentially amounts to one explanatory principle—that of Darwinian selection—Dutton advances a theory of aesthetics that is at once general enough to account for cross-cultural variations in artistic production and sufficiently nuanced to promote insights into individual artworks. In doing this, Dutton’s work could not offer a greater contrast to some of the more vocal trends in contemporary aesthetic theory, where ponderous theorizing and (...) rebarbative jargons have violently opposed the idea—otherwise so modest—that aesthetic activities might draw on the evolved capacities of the human imagination. On .. (shrink)

Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression (e.g., racism, misogyny, heteronormativity) are relevant topics in and for philosophical aesthetics: (i) the role of the aesthetic in privilege and oppression, and (ii) the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression (i.e., white heteropatriarchy). The (...) first part addresses how systems of privilege and oppression use the aesthetic. I will discuss various ways race, gender, and sexuality, as both embodied identities and broader social institutions, work with and through “the aesthetic”. The second part addresses racism and (hetero) sexism in the discipline of aesthetics. Both in its history and its present practice aesthetics’apparent neutrality on questions of privilege and oppression is actually evidence of its investment in systems of privilege and oppression. (shrink)

The Conjectural Body combines continental philosophy with musicology, popular music studies, and feminist, critical race, and postcolonial theories to offer a unique perspective on issues of gender, race, and the philosophy of music. It is one of the few books in philosophy to take popular music seriously, and is one of the few books in continental feminism to privilege music over the visual.

Research has suggested an increase in loneliness during the COVID-19 pandemic, but much of this work has been cross-sectional, making causal inferences difficult. In the present research, we employed a longitudinal design to identify loneliness trajectories within a period of twelve months during the COVID-19 pandemic in Belgium (N = 2106). We were particularly interested in the potential protective role of self-compassion in these temporal dynamics. Using a group-based trajectory modelling approach, we identified trajectory groups of individuals following low (11.0%), (...) moderate-low (22.4%), moderate (25.7%), moderate-high (31.3%), and high (9.6%) levels of loneliness. Findings indicated that younger people, women, and individuals with poor quality relationships, high levels of health anxiety, and stress related to COVID-19, all had a higher probability of belonging to the highest loneliness trajectory groups. Importantly, we also found that people high in two of the three facets of self-compassion (self-kindness and common humanity) had a lower probability of belonging to the highest loneliness trajectory groups. Ultimately, we demonstrated that trajectory groups reflecting higher levels of loneliness were associated with lower life satisfaction and greater depressive symptoms. We discuss the possibility that increasing self-compassion may be used to promote better mental health in similarly challenging situations. (shrink)

Is it even possible to resist or oppose neoliberalism? I consider two responses that translate musical practices into counter-hegemonic political strategies: Jacques Attali’s theory of “composition” and the biopolitics of “uncool.” Reading Jacques Attali’s Noise through Foucault’s late work, I argue that Attali’s concept of “repetition” is best understood as a theory of neoliberal biopolitics, and his theory composition is actually a model of deregulated subjectivity. Composition is thus not an alternative to neoliberalism but its quintessence. An aesthetics and ethos (...) of “uncool” might be a more viable alternative. If and when they function as bad, unprofitable investments, uncool practices like smoothness (predictable regularity) can undercut neoliberal imperatives to self-capitalization. I consider both the impact of neoliberalism on music, and how the study of music can advance theories of neoliberalism. (shrink)

Feminist, critical race, and postcolonial theories have established that social identities such as race and gender are mutually constitutive—i.e., that they “intersect.” I argue that “cultural appropriation” is never merely the appropriation of culture, but also of gender, sexuality, class, etc. For example, “white hipness” is the appropriation of stereotypical black masculinity by white males. Looking at recent videos from black male hip-hop artists, I develop an account of “postmillennial black hipness.” The inverse of white hipness, this practice involves the (...) appropriation, by black men, of stereotypical white gay masculinity and/or non-American, non-white femininity. I also argue that Shephard Fairey’s recent images of (mainly militant) non-Western women of color can be read as a new form of white hipness that revises the traditional logic in two ways: (1) by appropriating non-white femininity rather than masculinity, and (2) by adopting the practice of postmillennial black hipness itself. (shrink)

I distinguish between the nineteenth- to twentieth-century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth- to twenty-first-century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth-century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth- and (...) twenty-first-century practice. I use Nietzsche to track shifts from classical to neo-liberal methods of appropriating “difference.” Hipness is one form of this neoliberal approach to difference, and it is exemplified by the approach to race, gender, and pop culture in Vincente Minnelli's film The Band Wagon. I expand upon Robert Gooding-Williams's reading of this film, and argue that mid-century white hipness dissociates the popular from femininity and whiteness, and values the popular when performed by white men “acting black.” Hipness instrumentalizes femininity and racial nonwhiteness so that any benefits that might come from them accrue only to white men, and not to the female and male artists of color whose works are appropriated. (shrink)

While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations and unasked questions. This (...) essay addresses the paucity of work in feminist philosophy and popular music by applying insights from other areas of feminist aesthetics to questions of popular music, and thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)

Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...) de-intensification and divestment— not, as in Edelman or the Pistols, as a form of negation . I will show that ATR’s musical recontextualization of the Pistols’s riff mirrors the political recontextualization of queerness and queer death from negation to disinvestment. Pushing this misprision or sticky interface between cyberpunk, queer, and Afro-diasporic musical aesthetics, I use ATR’s music to consider how queer death might work as a political response to neoliberal demands to invest in “normal” life. I first discuss the traditional concept of death as negation in both the Sex Pistols song "God Save the Queen," and in Lee Edelman and Jack Halberstam’s formulations. I then argue that Atari Teenage Riot's song “Delete Yourself” describes a neoliberal, biopolitical concept of death, death as carefully administered divestment. Finally, I use Deleuze and Guattari’s discussion of drugs, and Ronald Bogue’s Deleuzian reading of death metal to identify and explain how “MIDIjunkies” and “Into the Death” complicate the biopolitical/neoliberal management of death by reworking traditional black/queer critical aesthet- ics. In these songs, ATR undermine biopolitical neoliberalism’s demand to invest in and intensify regular “normal” life: rather than treating death as a nadir of intensity, they intensify it–that is, they go into the death. This strategy of going “into the death” is one possible queer necropolitical response to neoliberalism. (shrink)

I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".

I argue that sound-centric scholarship can be of use to feminist theorists if and only if it begins from a non-ideal theory of sound; this article develops such a theory. To do this, I first develop more fully my claim that perceptual coding was a good metaphor for the ways that neoliberal market logics (re)produce relations of domination and subordination, such as white supremacist patriarchy. Because it was developed to facilitate the enclosure of the audio bandwidth, perceptual coding is especially (...) helpful in centring the ways that patriarchal racial capitalism structures our concepts and experiences of both sound and technology. The first section identifies sonic cyberfeminist practices that function as a kind of perceptual coding because they subject ‘sound’ and/or ‘women’ to enclosure and accumulation by dispossession. The second section identifies a type of sonic cyberfeminism that tunes into the parts of the spectrum that this perceptual coding discards, building models of community and aesthetic value that do not rely on the exclusion of women, especially black women, from both humanist and posthuman concepts of personhood. Here I focus especially on Alexander Weheliye’s ‘phonographic’ approach to sound, technology and theoretical text. This approach, which he develops in his 2005 book of that title and in recent work in collaboration with Katherine McKittrick, avoids fetishising tech and self-transformation and focuses on practices that build registers of existence that hegemonic institutions perceptually code out of circulation. I conclude with examples of such phonographic compression, including Masters At Work’s ballroom classic ‘The Ha Dance’ and Nicki Minaj’s ‘Anaconda’. (shrink)

The status of the body figures paradoxically in the interrelated discourses of whiteness, aesthetic taste, and hipness. While Richard Dyer’s analysis of whiteness argues that white identity is “in but not of the body,” Carolyn Korsmeyer’s and Julia Kristeva’s feminist analyses of aesthetic “taste” demonstrate that this faculty is traditionally conceived as something “of” but not “in” the body. While taste directly distances whiteness from embodiment, hipness negatively affirms this same distance: the hipster proves his elite status within white culture (...) by positioning himself as, in the words of James Chance’s song title, “Almost Black.” The notion of hip contributes to my analysis of taste by focusing on both the gender politics of white embodiment, and how, by taking the social body as object of the prepositions “in” and “of,” these discourses of taste and hipness produce individual bodies as white, and maintain Whiteness as a socio-political norm. (shrink)

This new edition of Collingwood's An Essay on Philosophical Method contains several previously unpublished papers including Collingwood's correspondence with Gilbert Ryle.

Because music communicates extra-propositionally, philosophers often use musical concepts and metaphors to discuss implicit and/or affective knowledges. Music is a productive means to philosophically analyze affect, but only when these analyses are grounded in rigorous studies of actual musical works and practices. When we don’t ground our study of music in musical practices, works, and theories, “music” just becomes a mirror of whatever assumptions and biases we already have. I show how the overly-abstract treatment of music and sound in Jean-Luc (...) Nancy’s Listening leads to significant philosophical and political problems. By following his musical metaphors all the way through, I show how his theory of listening naturalizes maleness/masculinity, and, like liberal multiculturalism, values “difference” only as a way to re-center whiteness and patriarchy. As an alternative, I use R&B/electropop singer Kelis’s 2010 single “Acapella” (sic) to develop an alternative account of music, affect, and the politics of difference. (shrink)

Because music communicates extra-propositionally, philosophers often use musical concepts and metaphors to discuss implicit and/or affective knowledges. Music is a productive means to philosophically analyze affect, but only when these analyses are grounded in rigorous studies of actual musical works and practices. When we don’t ground our study of music in musical practices, works, and theories, “music” just becomes a mirror of whatever assumptions and biases we already have. I show how the overly-abstract treatment of music and sound in Jean-Luc (...) Nancy’s Listening leads to significant philosophical and political problems. By following his musical metaphors all the way through, I show how his theory of listening naturalizes maleness/masculinity, and, like liberal multiculturalism, values “difference” only as a way to re-center whiteness and patriarchy. As an alternative, I use R&B/electropop singer Kelis’s 2010 single “Acapella” to develop an alternative account of music, affect, and the politics of difference. (shrink)

Some feminists have argued that the “master's tools” cannot be utilized for feminist projects. When read through the lens of non-ideal theory, Judith Butler's reevaluation of “autonomy” and “universality” and Peaches's engagement with guitar rock are instances in which implements of patriarchy are productively repurposed for feminist ends. These examples evince two criteria whereby one can judge the success of such an attempt: first, accessibility and efficacy; second, that the use is deconstructive of its own conditions.

Traditionally, in Anglo-American and Continental philosophy, music is addressed as the object of philosophical analysis: it is either a case study for developing broader, generalizable ideas about ontology, metaphysics, or ethics, or it is the thing that we apply philosophical methods and concepts to.1 It is the philosophy of music, remember. But in the last several decades philosophers in these traditions have increasingly taken “music” as a model for philosophical analysis: There is a branch of Deleuze studies dedicated to this; (...) new materialisms constantly refer to things such as vibration, resonance, and other wave behaviors such as diffraction; and Continental figures such as Jean-Luc Nancy and Adriana... (shrink)

In this paper, I argue that it is productive to read Rancière’s theory of political practice – what he calls “disagreement” – with and against Kodwo Eshun’s theorization of hip hop. Thinking disagreement through hip hop helps flesh out how, exactly, disagreement works, particularly at the level of individual embodiment and consciousness. While Rancière himself gives us many examples of interruptions to the political body , I am interested in examining how these interruptions work in, on, and through individual bodies. (...) How is it that we become aware of the ways that distributions of sensibility – particularly hegemonic ones, which are most likely to be normalized and imperceptible by virtue of their ubiquity – structure our corporeal schemas? How does one’s corporeal schema reinforce or interrupt dominant distributions of sensibility? Can we stage an interruption of our own corporeal schemas, and if so, how? (shrink)

ABSTRACTTranslated into English in 2004, Vladimir Jankelevitch’s book Music and the Ineffable has made a significant impact in anglophone musicology. I argue that the figure of the feminine is central to his understanding of music and musical ineffability, and use feminist philosophers’ interpretations and critiques of the figure of the feminine in his close friend and colleague Emmanuel Levinas’s work to unpack the gender politics of Jankelevitch’s book and the secondary literature on it. I focus on the figure of the (...) feminine in Time and the Other and Totality and Infinity, which are works we have evidence Jankelevitch read. There, Levinas describes the feminine as a “form of being” that is “inexhaustible, infinite” and thus “refuses thematization positively”. This is nearly identical to Jankelevitch’s definition of musical ineffability as “fertile inexplicability”. Not only is Jankelevitch’s concept of musical ineffability identical to Levinas’s concept of the feminine, it is also couched in gendered terms throughout Music and the Ineffable. “Musical ineffability” in Jankelevitch’s sense is thus a parallel to Levinas’s concept of the feminine. I then read Jankelevitch and his interpreters in musicology through feminist scholarship on Levinas to show how the former two succumb to the same ultimately patriarchal flaws as the latter. For example, just as Levinas prioritizes paternity and the reproduction of patriarchy, muiscologist Carolyn Abbate uses Jankelevitch as the white masculine other in which musicology recognizes itself as both different and the same. (shrink)

Understanding how people form opinions about climate change has proven to be challenging. One of the most common approaches to studying climate change beliefs is to assume people employ motivated reasoning. We first detail how scholars in this area have applied motivated reasoning perspectives, identifying a variety of different judgment goals on which they have focused. We next argue that existing findings fail to conclusively show motivated reasoning, much less isolate which specific goals guide opinion formation about climate change. Then, (...) we describe a novel motivational systems framework that would allow a more precise identification of the role of motivated reasoning in such opinions. Finally, we conclude by providing examples from completed and planned studies that apply this framework. Ultimately, we hope to give scholars and practitioners better tools to isolate why people hold the climate opinions they do and to develop effective communication strategies to change those opinions. (shrink)

Recent empirical work attempts to investigate how implicit biases target those facing intersectional oppression. This is welcome, since early work on implicit biases focused on single axes of discrimination, such as race, gender, or age. However, the success of such empirical work on how biases target those facing intersectional oppressions depends on adequate conceptualizations of intersectionality and empirical measures that are responsive to these conceptualizations. Surveying prominent recent empirical work, we identify failures in conceptualizations of intersectionality that inform the design (...) of empirical measures. These failures generate unsupported conclusions about the kinds of biases that those experiencing multiple oppressions face, and render proposed interventions to combat biases useless at best, harmful at worst. We also diagnose unwarranted assumptions about how stereotypes combine in complex concepts: first, that when “simple” social concepts combine the complex concepts inherit the associated stereotypes of their simpler constituent concepts; second that studies which focus on cognition about single social categories are investigating “simple” social concepts (cf. Goff and Khan 2013). We tease out recommendations to guide future investigations into biases that target those who experience multiple oppressions. (shrink)

Purpose This paper aims to formalize long-term trajectories of human civilization as a scientific and ethical field of study. The long-term trajectory of human civilization can be defined as the path that human civilization takes during the entire future time period in which human civilization could continue to exist. -/- Design/methodology/approach This paper focuses on four types of trajectories: status quo trajectories, in which human civilization persists in a state broadly similar to its current state into the distant future; catastrophe (...) trajectories, in which one or more events cause significant harm to human civilization; technological transformation trajectories, in which radical technological breakthroughs put human civilization on a fundamentally different course; and astronomical trajectories, in which human civilization expands beyond its home planet and into the accessible portions of the cosmos. -/- Findings Status quo trajectories appear unlikely to persist into the distant future, especially in light of long-term astronomical processes. Several catastrophe, technological transformation and astronomical trajectories appear possible. -/- Originality/value Some current actions may be able to affect the long-term trajectory. Whether these actions should be pursued depends on a mix of empirical and ethical factors. For some ethical frameworks, these actions may be especially important to pursue. (shrink)

Moral psychology studies the features of cognition, judgement, perception and emotion that make human beings capable of moral action. Perspectives from feminist and race theory immensely enrich moral psychology. Writers who take these perspectives ask questions about mind, feeling, and action in contexts of social difference and unequal power and opportunity. These essays by a distinguished international cast of philosophers explore moral psychology as it connects to social life, scientific studies, and literature.