We explored the relationship between qualities of victims in hypothetical scenarios and the appearance of framing effects. In past studies, participants’ feelings about the victims have been demonstrated to affect whether framing effects appear, but this relationship has not been directly examined. In the present study, we examined the relationship between caring about the people at risk, the perceived interdependence of the people at risk, and frame. Scenarios were presented that differed in the degree to which participants could be expected (...) to care about the group and the extent to which the group could be construed as interdependent. A framing effect was found only for the scenario describing the victims as the participants’ friends who did not know each other (high caring/low interdependence), and this went in the opposite direction from typical framing effects. Finally, perceived interdependence and caring affected choice both within and across scenarios, with more risky choices made by participants with high interdependence ratings and high caring ratings. (shrink)

Sexual exploitation and abuse (SEA) by United Nations (UN) peacekeepers causes severe physical and psychological consequences. Where SEA leads to pregnancy and childbirth, peacekeepers typically absolve themselves of their paternal responsibilities and paternity suits are largely unsuccessful. The lack of support for peacekeeper-fathered children (PKFC) tarnishes the image of the UN who fails to implement a victim-centred approach to SEA. Analysing shortcomings in the provision of support, this article presents an evaluation of the UN’s accountability system from the perspective of (...) PKFC families. In-depth interviews with thirty-five PKFC and sixty mothers demonstrate local barriers to child support and paternity claims in eastern Democratic Republic of Congo. We discuss PKFC’s need for assistance and their mothers’ attempts to navigate an opaque international legal system. The findings cast light on their limited access to UN subsidies and offer recommendations to better implement existing UN goals of justice and victim-oriented policies. (shrink)

The purpose of this qualitative research is to conceptualize the factors that influence human flourishing. Data has been gathered through in-depth, semi-structured interviews with thirty global heads of Human Resources of manufacturing companies in India and South Asia. Data from these interviews are analyzed using grounded theory methodology to categorize concepts and create a conceptual model of the main themes which contribute to human flourishing. This study highlights three such themes: (1) opportunities for advancement; (2) personal capability; and (3) leading (...) people inclusively. This article provides implications for a more complete model for entrepreneurs, policy makers, and HR heads to understand the conditions necessary for human flourishing, filling a literature gap in the study of human flourishing from the perspective of an employer. (shrink)

The visual brain consists of several parallel, functionally specialized processing systems, each having several stages (nodes) which terminate their tasks at different times; consequently, simultaneously presented attributes are perceived at the same time if processed at the same node and at different times if processed by different nodes. Clinical evidence shows that these processing systems can act fairly autonomously. Damage restricted to one system compromises specifically the perception of the attribute that that system is specialized for; damage to a given (...) node of a processing system that leaves earlier nodes intact results in a degraded perceptual capacity for the relevant attribute, which is directly related to the physiological capacities of the cells left intact by the damage. By contrast, a system that is spared when all others are damaged can function more or less normally. Moreover, internally created visual percepts-illusions, afterimages, imagery, and hallucinations-activate specifically the nodes specialized for the attribute perceived. Finally, anatomical evidence shows that there is no final integrator station in the brain, one which receives input from all visual areas; instead, each node has multiple outputs and no node is recipient only. Taken together, the above evidence leads us to propose that each node of a processing-perceptual system creates its own microconsciousness. We propose that, if any binding occurs to give us our integrated image of the visual world, it must be a binding between microconsciousnesses generated at different nodes. Since any two microconsciousnesses generated at any two nodes can be bound together, perceptual integration is not hierarchical, but parallel and postconscious. By contrast, the neural machinery conferring properties on those cells whose activity has a conscious correlate is hierarchical, and we refer to it as generative binding, to distinguish it from the binding that might occur between the microconsciousnesses. (shrink)

FramesIn 1934 the Belgian artist René Magritte painted a room with a view. On an easel in front of the window stands a painting depicting the very piece of landscape blocked from sight. Magritte named his painting La Condition Humaine (“The Human Condition”), which is quite apt, for the life of everyone is determined by windows, doors, mirrors and many other frames. Indeed, to avert anxiety, one actually cultivates social behavior born of the fear of being “outside the frame.” Because (...) of this apprehension, we organize all reality into a series of preestablished frames. (shrink)

Three studies test eight hypotheses about (1) how judgment differs between people who ascribe greater vs. less moral relevance to choices, (2) how moral judgment is subject to task constraints that shift evaluative focus (to moral rules vs. to consequences), and (3) how differences in the propensity to rely on intuitive reactions affect judgment. In Study 1, judgments were affected by rated agreement with moral rules proscribing harm, whether the dilemma under consideration made moral rules versus consequences of choice salient, (...) and by thinking styles (intuitive vs. deliberative). In Studies 2 and 3, participants evaluated policy decisions to knowingly do harm to a resource to mitigate greater harm or to merely allow the greater harm to happen. When evaluated in isolation, approval for decisions to harm was affected by endorsement of moral rules and by thinking style. When both choices were evaluated simultaneously, total harm -- but not the do/allow distinction -- influenced rated approval. These studies suggest that moral rules play an important, but context-sensitive role in moral cognition, and offer an account of when emotional reactions to perceived moral violations receive less weight than consideration of costs and benefits in moral judgment and decision making. (shrink)

This article develops a sociological analysis of the price mechanism on the market for contemporary art. On the basis of in-depth interviews with art dealers in New York and Amsterdam, I address two pricing norms: one norm inhibits art dealers from decreasing prices; the other induces them to set prices according to size. To account for these pricing norms, I argue that price setting is not just an economic but also a signifying act: despite their impersonal, businesslike connotations, actors on (...) markets manage to express a range of cognitive and cultural meanings through prices. Previously, meanings of prices have been recognized in signaling theories within economics. However, these meanings are restricted to profit opportunities. Within the humanities, by contrast, meanings of prices are restricted to contaminating or corrosive meanings. The sociological perspective I develop claims that prices, price differences, and price changes convey multiple meanings related to the reputation of artists, the social status of dealers, and the quality of the artworks that are traded. (shrink)

Morgan Luck raises a potentially troubling problem for gamers who enjoy video games that allow the player to commit acts of virtual murder. The problem simply is that the arguments typically advanced to defend virtual murder in video games would appear to also support video games that allowed gamers to commit acts of virtual paedophilia. Luck’s arguments are persuasive, however, there is one line of argument that he does not consider, which may provide the relevant distinction: as virtual paedophilia involves (...) the depiction of sexual acts involving children, it is therefore an instance of child pornography. I argue that virtual paedophilia involves the depiction of sexual acts involving children, which amounts to child pornography. I then draw on arguments to show that child pornography is morally objectionable. Finally, depictions of virtual murder are not instances of pornography, and so are not morally objectionable for this reason. So, there is a relevant moral distinction to draw between virtual murder and virtual paedophilia that is able to justify the former but not the latter. (shrink)

Is it ever morally wrong for a consumer to imagine something immoral in a work of fiction, or for an author to prompt such imagining? Brandon Cooke has recently argued that it cannot be. On Cooke’s account, fictive imagining is immune to moral criticism because such cases of imagining do not amount to the endorsement of the immoral content, nor do they imply that the authors of such fictions necessarily endorse their contents. We argue against Cooke that in fact fictively (...) imagining something immoral can be morally blameworthy, specifically in cases where fictive imagining is engaged in the service of immoral desires. Taking one potent case—namely, rape-fantasy pornography—we argue that the proper engagement with pornography requires the engagement of the consumer’s desires. Insofar as it is morally wrong to desire something immoral, or to encourage others to desire something immoral, then consumers can be held morally blameworthy for engaging in such fictive imaginings and works of fiction that are crafted to fit these purposes can be open to moral condemnation. (shrink)

In the recent literature on concepts, two extreme positions concerning animal minds are predominant: the one that animals possess neither concepts nor beliefs, and the one that some animals possess concepts as well as beliefs. A characteristic feature of this controversy is the lack of consensus on the criteria for possessing a concept or having a belief. Addressing this deficit, we propose a new theory of concepts which takes recent case studies of complex animal behavior into account. The main aim (...) of the paper is to present an epistemic theory of concepts and to defend a detailed theory of criteria for having concepts. The distinction between nonconceptual, conceptual, and propositional representations is inherent to this theory. Accordingly, it can be reasonably argued that some animals, e.g., grey parrots and apes, operate on conceptual representations. (shrink)

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve the (...) issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on (...) the grounds that they are reflective of our actual musical practices. The problem facing philosophers within this debate is that there is no clear way to determine which of the two conflicting intuitions is more reflective of our musical practices. Finally, I offer discussion of an experimental study that was designed to test participants' intuitions regarding the repeatability of musical works. The evidence presented there suggests that the participants broadly accept the repeatability of musical works, but in a much narrower way than philosophers would likely accept. (shrink)

Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...) and aims that is not exhausted by a concern for track construction. (shrink)

Should we take into account an artist's personal moral failings when appreciating or evaluating the work? In this essay, I seek to expand Berys Gaut's account of ethicism by showing how moral judgment of an artist's private moral actions can figure in one's overall evaluation of their work. To expand Gaut's view, I argue that the artist's personal morality is relevant to our evaluation of their work because we may only come to understand the point of view of the work, (...) and therefore the work's prescribed attitude, by examining the values, attitudes, and behaviors of the artist. This view is defended against a rival account offered by Bernard Wills and Jason Holt, which holds that the artistic evaluation of an artist's work is independent from the moral evaluation of their life except in extreme cases. (shrink)

Honor systems are a cheap and simple way for marketing low-price goods. These sale systems are dependent on the honesty of customers and can only tolerate a certain share of free-riders. In an experimental field study, we investigate a case where honesty has almost disappeared, namely an honor system for the sale of newspapers on weekends. In the chosen urban study area, only a minority of customers comply with payment norms. In this difficult setting, we tested the use of eye (...) images and descriptive social norms as cues to improving payment morale over a period of 24 weeks. We find that interventions based on eye cues as well as normative appeals do not evoke a transition from low to high levels of honesty. However, our results suggest that such interventions might still have the potential to marginally increase mean payments and therefore be economically profitable for operators of large-scale honor systems. (shrink)

Can a player be held morally responsible for the choices that she makes within a videogame? Do the moral choices that the player makes reflect in any way on the player’s actual moral sensibilities? Many videogames offer players the options to make numerous choices within the game, including moral choices. But the scope of these choices is quite limited. I attempt to analyze these issues by drawing on philosophical debates about the nature of free will. Many philosophers worry that, if (...) our actions are predetermined, then we cannot be held morally responsible for them. However, Harry Frankfurt’s compatibilist account of free will suggests that an agent can be held morally responsible for actions that she wills, even if the agent is not free to act otherwise. Using Frankfurt’s analysis, I suggest that videogames represent deterministic worlds in which players lack the ability to freely choose what they do, and yet players can be held morally responsible for some of their actions, specifically those actions that the player wants to do. Finally, I offer some speculative comments on how these considerations might impact our understanding of the player’s moral psychology as it relates to the ethics of imagined fictional events. (shrink)

The intuitive, folk concept of hypocrisy is not a unified moral category. While many theorists hold that all cases of hypocrisy involve some form of deception, I argue that this is not the case. Instead, I argue for a disjunctive account of hypocrisy whereby all cases of “hypocrisy” involve either the deceiving of others about the sincerity of an agent's beliefs or the lack of will to carry through with the demands of an agent's sincere beliefs. Thus, all cases of (...) hypocrisy can be described either as cases of deception or as cases of akrasia. If this analysis correct, then I suggest further that the moral status of all instances of hypocrisy must be reduced either to the moral blameworthiness of deception or to the moral blameworthiness of akrasia. There can be no unified account of the moral wrongness of “hypocrisy” that holds across the disjunction. (shrink)

In this paper Modern Essentialism is used to solve a problem of individuation of spacetime points in General Relativity that has been raised by a New Leibnizian Argument against spacetime substantivalism, elaborated by Earman and Norton. An earlier essentialistic solution, proposed by Maudlin, is criticized as being against both the spirit of metrical essentialism and the fundamental principles of General Relativity. I argue for a modified essentialistic account of spacetime points that avoids those obstacles.

The study examines the relationship between the strength of an organizationÕs ethical climate and ethical problems involving human resource management. Data were collected through a survey of 1078 human resource managers. The results indicate a statistically significant negative relationship between the strength of an organization'ss ethical climate and the seriousness of ethical violations and a statistically significant positive relationship between an organization'ss ethical climate and success in responding to ethical issues. Thus, interventions that strengthen an organization'ss ethical climate may help (...) manage ethical behavior within organizations. (shrink)

Traditional monist theories of art fail to account for the diversity of objects that intuitively strike many as belonging to the category art. Some today argue that the solution to this problem requires the adoption of some version of pluralism to account for the diversity of art. We examine one recent attempt, which holds that the correct account of art must recognize the plurality of concepts of art. However, we criticize this account of concept pluralism as being unable to offer (...) an explanation of why some concept is an art concept. Instead, many of the disagreements over the definition of art could be reconciled by recognizing that works of art can be valued in a plurality of ways. By recognizing a plurality of values for art, we claim further that the definition of art becomes a non-issue. (shrink)

This paper examines people's reasoning about identity continuity and its relation to previous research on how people value one-of-a-kind artifacts, such as artwork. We propose that judgments about the continuity of artworks are related to judgments about the continuity of individual persons because art objects are seen as physical extensions of their creators. We report a reanalysis of previous data and the results of two new empirical studies that test this hypothesis. The first study demonstrates that the mere categorization of (...) an object as “art” versus “a tool” changes people's intuitions about the persistence of those objects over time. In a second study, we examine some conditions that may lead artworks to be thought of as different from other artifacts. These observations inform both current understanding of what makes some objects one-of-a-kind as well as broader questions regarding how people intuitively think about the persistence of human agents. (shrink)

ABSTRACTIf representative democracy is not about elected officials responding directly to voters’ preferences, and if the voters do a poor job of voting their interests in referendums, then what is democracy about? In our view, a satisfactory theory of democracy would focus normatively on the social identities and political interests of citizens rather than on their expressed policy preferences, and empirically on the ability of organized or attentive groups to get those identities and interests effectively recognized and acted on in (...) the governmental process. A group-theoretic version of democratic theory along these lines would dispense with the most important illusions of the conventional “folk theory” of democracy. However, much hard work remains to clarify how actual democracies make policy and to construct a wise normative standard—inspirational but not innocent—against which they can be judged. (shrink)

In his book Reveille for Radicals, Saul Alinsky writes, "Most people are eagerly groping for... some way in which they can bridge the gap between their morals and their practices". Today, many consumers try to bridge that gap by participating in what has been termed ethical consumption: the intentional purchase of products and services that the customer considers to be ethically produced. But what happens if consumer perceptions do not match reality? This study investigates one aspect of ethical consumption by (...) examining consumer perceptions of the term cruelty free. Various definitions of this term exist, and companies can use the term when the product or its ingredients were indeed tested on animals. This exploratory study suggests that many consumers use this term as a moral heuristic in decision-making. As a result, the use of the term creates a halo effect that elevates brand perceptions. When provided with information suggesting the heuristic is flawed, consumers slightly alter perceptions but attitudes remain relatively strong. While some countries have implemented regulation regarding the use of the phrase in some contexts, results suggest that a broader policy is necessary to correct misperceptions and avoid misleading consumers. (shrink)

When interpreting the meanings of visual features in information visualizations, observers have expectations about how visual features map onto concepts (inferred mappings.) In this study, we examined whether aspects of inferred mappings that have been previously identified for colormap data visualizations generalize to a different type of visualization, Venn diagrams. Venn diagrams offer an interesting test case because empirical evidence about the nature of inferred mappings for colormaps suggests that established conventions for Venn diagrams are counterintuitive. Venn diagrams represent classes (...) using overlapping circles and express logical relationships between those classes by shading out regions to encode the concept of non-existence, or none. We propose that people do not simply expect shading to signify non-existence, but rather they expect regions that appear as holes to signify non-existence (the hole hypothesis.) The appearance of a hole depends on perceptual properties in the diagram in relation to its background. Across three experiments, results supported the hole hypothesis, underscoring the importance of configural processing for interpreting the meanings of visual features in information visualizations. (shrink)

In this paper, I will defend the thesis that fundamental natural laws are distinguished from accidental empirical generalizations neither by metaphysical necessity (e.g. Ellis 1999, 2001; Bird in Analysis, 65(2), 147–155, 2005, 2007) nor by contingent necessitation (Armstrong 1983). The only sort of modal force that distinguishes natural laws, I will argue, arises from the peculiar physical property of mutual independence of elementary interactions exemplifying the laws. Mutual independence of elementary interactions means that their existence and their nature do not (...) depend in any way on which other interactions presently occur. It is exactly this general physical property of elementary interactions in the actual world that provides natural laws with their specific modal force and grounds the experience of nature’s ‘recalcitrance’. Thus, the modal force of natural laws is explained by contingent non-modal properties of nature. In the second part of the paper, I deal with some alleged counterexamples to my approach: constraint laws, compositional laws, symmetry principles and conservation laws. These sorts of laws turn out to be compatible with my approach: constraint laws and compositional laws do not represent the dynamics of interaction-types by themselves, but only as constitutive parts of a complete set of equations, whereas symmetry principles and conservation laws do not represent any specific dynamics, but only impose general constraints on possible interactions. (shrink)

In this paper, I will defend the thesis that fundamental natural laws are distinguished from accidental empirical generalizations neither by metaphysical necessity, 147–155, 2005, 2007) nor by contingent necessitation. The only sort of modal force that distinguishes natural laws, I will argue, arises from the peculiar physical property of mutual independence of elementary interactions exemplifying the laws. Mutual independence of elementary interactions means that their existence and their nature do not depend in any way on which other interactions presently occur. (...) It is exactly this general physical property of elementary interactions in the actual world that provides natural laws with their specific modal force and grounds the experience of nature’s ‘recalcitrance’. Thus, the modal force of natural laws is explained by contingent non-modal properties of nature. In the second part of the paper, I deal with some alleged counterexamples to my approach: constraint laws, compositional laws, symmetry principles and conservation laws. These sorts of laws turn out to be compatible with my approach: constraint laws and compositional laws do not represent the dynamics of interaction-types by themselves, but only as constitutive parts of a complete set of equations, whereas symmetry principles and conservation laws do not represent any specific dynamics, but only impose general constraints on possible interactions. (shrink)

Technological advancements often lead to revolutions in the creation of art; but, what is unclear is whether such advancements always correspond to revolutions regarding the artistic medium. The notion of an artistic medium is central to our thinking about, engagement with, and appreciation of art. Accounts of the interpretation, understanding, and experience of art must at some point grapple with the role of the artistic medium against such endeavors. Moreover, artists do not choose their medium by accident, but presumably do (...) so with an eye to the specific and unique affordances of their chosen medium. This chapter will explore the ways in which technology affects these issues. One question we could ask is, when does some technology itself become a new artistic medium? Some technological advancements result in the creation of a new artistic medium—like photography—while others do not—like procedural music. Finding “technology” itself to be too broad of a concept to define a distinctive and theoretically useful notion of an artistic medium, this chapter will examine generally what sort of barriers or challenges one might face when thinking of different technologies as themselves constituting an artistic medium. Specific attention will be paid to the notion of the medium and the theoretical and aesthetic work that such a notion plays in regard to works of computer art. (shrink)

The rationality of scientific concept formation in theory transitions, challenged by the thesis of semantic incommensurability, can be restored by theChains of Meaning approach to concept formation. According to this approach, concepts of different, succeeding theories may be identified with respect to referential meaning, in spite of grave diversity of the mathematical structures characterizing them in their respective theories. The criterion of referential identity for concepts is that they meet a relation ofsemantic embedding, i.e. that the embedding concept can be (...) substituted by the embedded one in classical limit situations. Three case studies from contemporary physics theories will be used to show that the Chains of Meaning approach not only yields meaning comparisons for already established concepts (as for Newtonian and Schwarzschild mass) but is also well suited to characterize actual scientific strategies of concept formation in yet open cases such as black hole entropy or relativistic thermodynamics. (shrink)

Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...) puzzle of historical criticism is that these intuitions are obviously in conflict, and yet we wish to give up neither. In this essay, I address the shortcomings of two seemingly intuitive strategies for solving the puzzle: the puzzle cannot be solved by appealing to historical constraints of a work’s genre, nor can it be explained as an instance of imaginative resistance. Given the failure of these two strategies, I suggest that there is no easy way to account for our conflicting intuitions and that the puzzle is deserving of greater attention. (shrink)

In a recent pair of articles, Aaron Ridley and Andrew Kania have debated the merits of the study of musical ontology. Ridley contends that the study of musical ontology is orthogonal to more pressing concerns over the value of music. Kania rejects this, arguing that a theory of the value of music must begin with an understanding of the ontology of music. In this essay, I will argue that, despite Kania's rejections, Ridley's criticism exposes a false methodological assumption that needs (...) to be addressed—a poorly understood adherence to the priority of ontology, which is the belief that the resolution of ontological disputes must precede our understanding of the evaluation of musical performances. I will argue that there is a central claim at the heart of Ridley's criticisms that must be appreciated—that standard accounts of the ontology of music make unwarranted assumptions about the rigidity of the identification of musical performances—and yet Kania is right to claim that the resolution of some ontological questions will play some role in our evaluation of musical performances. I will argue that part of the disagreement between Ridley and Kania can be resolved by accepting a greatly weakened version of the priority of ontology. (shrink)

fMRI is a tool to study brain function noninvasively that can reliably identify sites of neural involvement for a given task. However, to what extent can fMRI signals be related to measures obtained in electrophysiology? Can the blood-oxygen-level-dependent signal be interpreted as spatially pooled spiking activity? Here we combine knowledge from neurovascular coupling, functional imaging and neurophysiology to discuss whether fMRI has succeeded in demonstrating one of the most established functional properties in the visual brain, namely directional selectivity in the (...) motion-processing region V5/ MT+. We also discuss differences of fMRI and electrophysiology in their sensitivity to distinct physiological processes. We conclude that fMRI constitutes a complement, not a poor-resolution substitute, to invasive techniques, and that it deserves interpretations that acknowledge its stand as a separate signal. (shrink)

Based on the author's thesis (doctoral) from Universiteit, Leiden, 2014.

Engaging variously with the legacy of Paul L. Lehmann, these essays argue for a reorientation in Christian theology that better honours the formative power of ...

Increasing numbers of marketers are turning to the crowd—members of the public engaged with brands via the Internet—to develop marketing and advertising campaigns. Some marketers use social media to connect directly with customers, while others use crowdsourcing agencies to harness the power of crowd labor. As more members of the public become aware of creative crowdsourcing, they look to the media to understand more about it. As a result, it is important to examine how the media currently frame creative crowdsourcing (...) to the public, particularly when numerous ethical issues about crowdsourcing have been identified. This study examines media coverage of creative crowdsourcing to examine how benefits and challenges are presented. Informed by a framework developed by Swain, results indicate that most media coverage focuses solely on benefits to the industry: benefits to the ‘crowd’ are rarely discussed, yet drawbacks to the crowd are mentioned more frequently than drawbacks for the industry. This provides a skewed vision of what creative crowdsourcing is and may affect participation in the practice. (shrink)

Musica Poetica provides an unprecedented examination of the development of Baroque musical thought. The initial chapters, which serve as an introduction to the concept and teachings of musical-rhetorical figures, explore Martin Luther's theology of music, the development of the Baroque concept of musica poetica, the idea of the affections in German Baroque music, and that music's use of the principles and devices of rhetoric. Dietrich Bartel then turns to more detailed considerations of the musical-rhetorical figures that were developed in Baroque (...) treatises and publications. After brief biographical sketches of the major theorists, Bartel examines those theorists' interpretation and classification of the figures. The book concludes with a detailed presentation of the musical-rhetorical figures, in which each theorist's definitions are presented in the original language and in parallel English translations. Bartel's clear, detailed analysis of German Baroque musical-rhetorical figures, combined with his careful translations of interpretations of those figures from a wide range of sources, make this book an indispensable introduction and resource for all students of Baroque music. Dietrich Bartel is an associate professor in the Department of Music at Canadian Mennonite Bible College (affiliated with University of Manitoba). (shrink)

O presente artigo apresenta um relato de experiência das ações extensionistas promovidas no ano de 2021 pelo Núcleo de Estudos Afro-brasileiros e Indígenas (NEABI) do Campus Ibirama da Instituto Federal Catarinense. Devido ao contexto de pandemia de COVID-19, que perdurou durante quase todo o ano letivo de 2021, as atividades do Núcleo precisaram ser adaptadas para que ocorressem em ambientes virtuais. Apesar desta adequação forçada, que limitou em grande medida a diversidade das ações, foi possível identificar tanto o promissor potencial (...) do NEABI quanto os desafios a serem superados para que a temática étnico-racial seja definitivamente incluída nos espaços institucionais e passe a fazer parte do cotidiano da comunidade escolar. (shrink)

Abstract:It is well-known that phronēsis is realized when people reflect on their actions (praxis) and act accordingly, but the question of how this concept of practical reasoning can serve both people who make music and at the same time the music they make has not yet been answered. This paper aims to reveal in what way phronēsis can lead to fulfillment in and through music and also to musical quality, especially when people make music with others. First, phronēsis will be (...) explored as it is interpreted in North America and Germany. Second, the German term aesthetic praxis is introduced, because it reveals that phronēsis is significant for this concept. The line of argument aims at showing that the notions of ‘acting ethically’ and ‘acting aesthetically’ do not stand in opposition to each other when people make music. On the contrary, phronēsis is a kind of knowledge that is relevant to an aesthetic praxis and therefore young people should be enabled to practice phronēsis when making music. If this process is intitiated, they are enabled to reflect on their own musical actions, as ethical and aesthetic practitioners. (shrink)

Music education is a social act oriented around interactions between people in public spaces. These spaces provide opportunities for what Hannah Arendt calls natality, which we interpret as new and unexpected actions that arise in a shared space. Drawing from a range of ideas and experiences of Arendt, bell hooks, Joan Baez, Martha Nussbaum, and music education philosophers and practitioners, we argue that it is important for music educators to make room for this space by becoming more critically aware of (...) their emotions. Opening up to the unexpected in human interactions can at times be difficult and elicit fear. It also calls for a civic love. Cultivating this kind of love includes recognizing that our emotions and matters of the heart are instruments of power that can support or hinder others from becoming actors in their own right. As agents within music education, we can strive to realize this by developing a critical pedagogic consciousness and reflecting on the unexpected and emotional spaces of interaction. (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

The Nature and Origins of Mass Opinion (1992) provided both a powerful framework for analyzing public opinion and a highly influential account of the role of political elites in shaping public opinion. Zaller's subsequent work has focused less on the mechanics of opinion change than on the role of public opinion in the broader political process. This evolution has entailed sustained attention to V. O. Key, Jr.'s concept of ?latent opinion??the opinion politicians are likely to face in the next election, (...) as distinct from what is currently measureable in surveys. It has also entailed a downgrading of the importance attached to Media Politics??the attempt to govern on the basis of words and images that diffuse through the mass media??relative to Party Politics??the substance of party performance.? In recent work, Zaller and his colleagues have emphasized the key role of interest groups and activists in shaping parties' policy choices, largely free of effective constraint by the mass public. This work provides a rather more pessimistic take on ?The Question of Elite Domination of Public Opinion? than does the epilogue to The Nature and Origins of Mass Opinion. (shrink)

Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.

Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology of (...) rock as defended by Theodore Gracyk and Stephen Davies and offer some interpretation as to what their positions might be in regard to mash-ups. Finally, I argue that the account of mash-ups that best makes sense of our evaluative practices would hold that they are emergent musical works that are distinct in their own right and yet also happen to be cases of musical works that instantiate parts of other musical works. (shrink)