This article proposes a typology of the epistemology of live blogging through an analysis of two live news blogs: Radio New Zealand News’ live blog of a significant earthquake in Aotearoa New Zealand in November 2016 and BBC News’ live blog of the Brexit referendum result in June 2016. We use these cases to draw out five features of the genre that we suggest may characterise other live news blogs. We demonstrate that these blogs tend to produce a fragmentary narrative (...) that reflects particular moments in time, curate an array of textual objects from a range of information sources to produce ‘networked balance’, gain coherence from an often informal authorial voice or voices and generate claims to knowledge of events which are simultaneously dynamic and fragile. This typology contributes to understanding journalism’s position within networked information spaces. (shrink)

A study found that women participating in mammography screening were content with the programme and the paternalistic invitations that directly encourage participation and include a pre-specified time of appointment. We argue that this merely reflects that the information presented to the invited women is seriously biased in favour of participation. Women are not informed about the major harms of screening, and the decision to attend has already been made for them by a public authority. This short-circuits informed decision-making and the (...) legislation on informed consent, and violates the autonomy of the women. Screening invitations must present both benefits and harms in a balanced fashion, and should offer, not encourage, participation. It should be stated clearly that the choice not to participate is as sensible as the choice to do so. To allow this to happen, the responsibility for the screening programmes must be separated from the responsibility for the information material. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Extraordinary Rendition:On Politics, Music, and Circular MeaningsRandall Everett AllsupThe purpose of this symposium is to look at music, education, and politics. I will begin with an examination of how musical meanings are politically rendered, and how these understandings are attached to moral consequences. Highly resistant to classification, musical meanings are those things we come to understand about ourselves through music, as opposed to musical knowledge which is demonstrable know-how. (...) While marching bands and flute sonatas can be judged with scores estimated to the 100th decimal point, the meanings that are created between the standards of practice of a given genre and the worldview of the listener or performer are provisional at best. Seen in this light, even seemingly secure or knowable realms like Christian heavy metal or anti-war movies are in fact highly un-objective and unpredictable. (More on Christian rock and movies in a moment). The challenge this paper seeks to uncover is participation on the hither side of fact, where understandings are rendered in a world that is contingent, political, and always in motion. What better example of the unclassifiable than the moving axes of politics and art?So what occurs between art and human or so-called "world" experience? [End Page 144] Let's agree that there is always motion, non-neutral, political movement in this interaction. We need not be students of French post-structuralism to recognize that we are part of many ever-evolving human-made systems, some of control, regulation, reward, punishment, and pleasure, but each with their own gravitation pull.1 I like Susan Sontag's take the best when she wrote that every place, every history has its own "sensibility," its own ineffable way of being in the world.2 Sensibilities—perhaps a clearer way of referring to politics in the context of art and experience—do not exist apart from their environment, yet they are more elusive than an idea or recognizable behavior.3 The sensibility of a time and place makes possible multiple discourses through which we make meaning.4 Some discourses, Foucault would remind us, are intensified by a history's particular sensibility and so appear louder than others. Such a discourse might speak so loudly that it shapes the meanings we make, drowning out options, and thus appearing obvious or commonsensical. The logic of musical assessment and evaluation—scoring marching bands and flute sonatas to the 100th decimal—is one such example.In spite of authoritative voices and reasonable discourses, each history's sensibility has its own escape routes, its own distortions and contradictions. I am fascinated by how we comply with or resist these pulls, as they are matters of agency and identity, matters of equity and social justice. In the present-day context of neo-liberalism and conservative values, especially 21st Century American fundamentalism, we would do well to ask how—not whether—such a fundamentalist sensibility shapes our ways of doing and knowing.5 My attempt is to locate music education in such a project.Shortly after the invasion of Iraq, I wrote a short piece on the fundamentalist imagination and its pull on the arts and education.6 This research took place at the 2003 MENC biennial where Bennett Reimer asks philosophy SRIG participants to consider (among other things) the role of metaphor in music education.7 I viewed the fundamentalist imagination as antithetical to metaphor: to paraphrase, the fundamentalist philosophy of education was "a philosophy for, not with, its initiates. Judgments are passed, not reached; answers are given, not argued... [Most importantly,] it is an educational method that emphasizes and then measures what is literal."8Since then, the voices of American literalism have appeared in increasingly loud volume seeking to discourage interpretation and argument in favor of handed-down teachings and binary logic. Supreme Court Justice Antonin Scalia decries the folly of a "living" constitution, in favor of a strict or literal reading. Retired Cardinal Bernard Law of Boston, in response to a common ground initiative by the late Joseph Bernadin, labels an appeal to "dialogue" a "fundamental flaw."9 Law sniffed, "Dissent from revealed truth or the authoritative [End Page 145] teaching of the church cannot... (shrink)

This paper aims to examine how specific aspects of Bakhtin's theoretical perspective might inform our understanding of improvisation. Moreover, it outlines the possible educational implications of such a perspective. Specifically, a sketch of a Bakhtinian conception of improvisation is proposed, a sketch which emphasizes the cultivation of an attitude of consciousness that leads to an understanding of improvised music making as an obligation to explore the unknown, to search for freedom through the responsibility to attend to the uniqueness of irrevocable (...) musical acts. Moreover, emphasis is given to the potential of improvisation to create a music-making context that counters monologic musical discourses, providing a site of resistance to fixity and closure. It is argued that improvisation is dialogic exactly because it creates a very special sense of interaction, which is characterized by unfinalizability and openness. At the same time, improvisation is in need of temporary finalizations which occur through the presence of the audience and the musicians' struggle to raise their minds 'above' their playing, looking at their music from outside and getting 'back in' again. It is hoped that such a perspective might provide the necessary theoretical tools for re-thinking the role of improvisation in music education. A Bakhtinian view on the experience of improvisation would, it is suggested, be educationally valuable exactly because it regards improvisation not as a problem-solving method but a problem-positing approach: as a musical practice that involves children and young people in the experiential pursuit of freedom and the understanding of the "ought" of imagining ways forward, countering monologue by allowing the flourishing of a polyphony of unmerged voices, constituting a distinctive chronotope which provides the possibility of an enactment of everyday living in musical terms. The decision to improvise marks the initiation of a search for a public musical space which is marked by the absence of fear, where exploration of musical freedom is pursued, where everything might happen but not anything goes. (shrink)

This paper attempts to highlight some weaknesses of European integration by technology. It is argued that these weaknesses of integration arise out of misunderstanding of the relationships between economics and technology. Mainstream economics considers technology as being external to the sphere of economy. It is treated as an external stock of knowledge or information rather than the result of a process of interaction between the actors belonging to the sphere of economy. The theoretical status of technology influences the focus and (...) process of economic development through technology. If technology is considered as being exogenous to the sphere of economics, the resulting stock of technology can be considered as transferable. If technology is considered as the result of an interaction of economic actors, so belonging to the economic sphere, its transfer becomes impossible because of its endogenous nature. In this last frame, technology concept transfer may become a danger for the development of less developed countries as well as for the cohesion of the European Community. (shrink)

This article attempts to answer a question that many dancers and non-dancers may have. What is dance according to the media? Furthermore, how does the written word portray dance in the media? To answer these ques-tions, this research focuses on the role that the discourse of dance in media plays in the public sphere’s knowledge construction of dance. This is impor-tant to study because the public sphere’s meaning of dance will determine whether dance education is promoted or banned in schools (...) and in society. The aim of this paper is to contribute to the existing literature of dance in the media. One limitation of this contribution is that the research uses only newspaper articles as a source of analysis. Future research should include an analysis of visual and audio clips of dance as portrayed in the media. (shrink)

Although Caenorhabditis elegans was chosen and modified to be an organism that would facilitate a reductionist program for neurogenetics, recent research has provided evidence for properties that are emergent from the neurons. While neurogenetic advances have been made using C. elegans which may be useful in explaining human neurobiology, there are severe limitations on C. elegans to explain any significant human behavior.

Recently there has been a growing interest not only in existentialism, but also in existential questions, as well as key figures in existential thinking. Yet despite this renewed interest, a systematic reconsideration of Kierkegaard’s existential approach is missing. This anthology is the first in a series of three that will attempt to fill this lacuna. The 13 chapters of the first anthology deal with various aspects of Kierkegaard's existential approach. Its reception will be examined in the works of influential philsophers (...) such as Heidegger, Gadamer, and Habermas, as well as in lesser known philosophers from the interwar period, such as Jean Wahl, Lev Shestov, and Benjamin Fondane. Other chapters reconsider central notions, such as "anxiety", "existence", "imagination", and "despair". Finally, some chapters deal with Kierkegaard's relevance for central issues in contemporary philosophy, including "naturalism", "self-constitution", and "bioethics". This book is of relevance not only to researchers working in Kierkegaard Studies, but to anyone with an interest in existentialism and existential thinking. (shrink)

While the French Jesuits were scandalized at God's moral necessity to elect the best, Des Bosses was right in defending the Théodicée drawing the attention to the contemporary Spanish theology. In fact, Optimism is not the invention of Leibniz', but of the two Sevillan Jesuits' Diego Ruiz de Montoya and Diego Granado . It will be argued that Optimism has two roots, both of them closely connected with the Posttridentinian Theology: 1) the moralization of modal categories, 2) a universe integrating (...) Nature, Grace and Incarnation. In the latter regard, Optimism is a legitimate child of Molinism, viz. in respect to the ,scientia media‘ being the basis of its concept of World, to the ,total decree‘ as a certain mode of this world being realized. As a result, the Théodicée depends on Jesuit theology to an extent which still has to be acknowledged. (shrink)

The word stigma comes from ancient Greece, and was initially used in reference to signs or symbols physically cut into or burned onto the bodies of those deemed to be of an inferior status. It was a marking of one's tarnished and flawed character. Today, stigma is more often attached to one's social standing, personality traits, or psychological makeup. "People are no longer physically branded; instead they are societally labeled—as poor, as criminal, homosexual, mentally ill, and so on. These labels (...) influence public perceptions and behavior and lead to devaluation and denigration of those who are so labeled" (Wahl 1999, 11–12).The modern usage of the term stigma and contemporary focus on the concept as a topic of .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of a Reality-Based Community:Illusion and Tolerance in Music, Education, and SocietyPatrick K. SchmidtThe two questions that arise in this symposium are: What kind of world engagement is required of music education? and Should music educators participate in political understanding? While my immediate response was and is: How we can afford not to? that is, not to engage fully with the world and not to do so politically, (...) at the same time I also recognize the ways in which that has been problematic in the music education profession. Particularly, in how we continue to experience what I would call events without future: ersatz events made of illusions. Such a proposition is implicated in the following questions: How seriously are we committed to rethinking our practice and re-engaging with our ideals, traditions, visions, and discourses? Has our conception and practice of democracy disappeared (or remained unformed) in the insubstantiality of shadows? How do [End Page 160] we react to political understandings that dismiss the communities in which we live, as well as the singularities and differences that mark us? Who are those of us supposedly living in the/a "reality-based community?"1An aide of the current administration explains the White House stance by saying, "We are an empire now, and when we act, we create our own reality."2 The idea, of course, is that we not only can, but perhaps, must dissociate from such communities (particularly those that do not conform to such envisioned reality). An Empire, one might say, seeks power as well as expansion, confluence as well as stability, tradition as well as ideological certainty. It probably comes as no surprise then, that dictatorial regimes are often more stable, including economically, than new or recalcitrant democracies. (I myself grew up in such a regime in Brazil in the 1970s and early 80s.) The word "Empire" conjures up images that are localized, monocentric, confluent, and institutional. The reality today, however, seems much closer to what Antonio Negri and Richard Hardt portray:3 a reality modeled upon the production of subjects with increasingly similar desires and prone to a certain subservience to commodity and technology. But if this "we" is no longer "us" but an illusion, if this reality-based community no longer distinguishes, questions, problematizes, or engages with its own reality or realities, perhaps more than ever it is time that we began to think politically, that our assumptions and that of others be challenged, and that we seek understandings that, as Randall Allsup has proposed, "are rendered in a world that is contingent, political, and always in motion."Following the model adopted here I will address some of the concepts Estelle Jorgensen proposes, particularly those associated with the notion of supremacy and its propagation through "reductionistic and nationalistic forces." Such a vista will serve as a departing point for my own reflections on the shades, contradictions, complexities, and possibilities we might find when considering majority led silence and voicing, as well as the role of political and empathetic dialogue in our practices, be they professional and/or connected to citizenship.4A Search for the Ethical: Majority Rule?Today, music education as a society negotiates a reality that is more complex and multiple—one of a multitude of one5 —of separation through categories that, while preserving the impression of distinctiveness, allows for a larger invisible and uncontested majority to instill what Alexis de Toqueville called over a century ago the "tyranny of the majority."6 We need to consider here that, as Negri and Hardt propose, there is no one center to this Empire, "no tangible, nuclear element to be identified and/or resisted." This tyrannical majority is paradoxical, for while it dictates it is also silent.7 What is there, then, are spaces in and through which our disengagement allows for the strengthening of what is [End Page 161] perceived and experienced as inevitable, as a faceless majority that controls and decrees, that denies and structures.This tyranny of the majority, the underside of our democratic visions, can lead in politics, as in our professional practices, to a sense of the famous Foucaultian panopticon where total surveillance is... (shrink)

In seinem Buch Pazifismus. Eine Verteidigung verteidigt Olaf Müller einen relativ strikten Pazifismus, der im Ukrainekrieg keine militärische Hilfe an die Ukraine erlaubt ‐ trotz der Anerkennung, dass es sich um einen verbrecherischen Angriffskrieg handelt. Müller kritisiert die beiden üblichen Begründungen für solch eine Position, den gesinnungsethischen und den verantwortungsethischen Pazifismus, und entwickelt seine eigene Version, den pragmatistischen Pazifismus.Der vorliegende Beitrag diskutiert Müllers Pazifismus kritisch und gibt einen Ausblick auf eine bessere ethische Alternative, nämlich die wohlfahrtsethische begrenzte Optimierung. Müllers Anliegen (...) ist zutiefst human. Seine Begründung ist differenziert, aber langwierig, verwickelt und unklar. Ein Teil dieses Beitrags besteht darin, diese Begründung zu rekonstruieren und auf das Wesentliche zu reduzieren, um dann die essentiellen Elemente gezielter kritisch diskutieren zu k??nnen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education and the civic spaces of public life. Where once (...) it held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

I argue that inferences from highly probabilifying racial generalizations are not solely objectionable because acting on such inferences would be problematic, or they violate a moral norm, but because they violate a distinctively epistemic norm. They involve accepting a proposition when, given the costs of a mistake, one is not adequately justified in doing so. First I sketch an account of the nature of adequate justification—practical adequacy with respect to eliminating the ~p possibilities from one’s epistemic statespace. Second, I argue (...) that inferences based on demographic generalizations tend to disproportionately expose group members to the risks associated with mistakenly assuming stereotypical propositions, and so magnify the wrong involved in relying on such inferences without adequate justification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 15.2 (2007) 150-160MuseSearchJournalsThis JournalContents[Access article in PDF]Songs to Teach a NationEstelle R. Jorgensen Indiana University, BloomingtonIn this symposium, I first briefly respond to Randall Allsup's piece, "Extraordinary Rendition: On Politics, Music, and Circular Meanings" with some general remarks on the distinctions between fundamentalism and liberalism, and internationalism, nationalism, and localism, and the importance of exercising judgment in order to find a middle ground (...) between extreme positions. Against this backdrop, I reflect on the songs we need to teach the nation to sing and, as a case in point, consider the National Anthem Project launched by the MENC—The National Association for Music Education. I suggest that at the very least the "Star-Spangled Banner" ought not be the only song to teach the nation at this time and it is important to carefully consider which songs we ought to teach the nation. And I propose that music teachers need to take a measured approach that eschews fundamentalism, rampant militarism, and excessive patriotism, embraces musically the tensions between internationalism, nationalism, and localism, and expresses a sensitive world-view through the choice of songs that cultivate and express liberal and democratic ideals and foster peace internationally.1Allsup's attention to the political character of research reminds us of the important consequences of any activity in the public and private spheres. Our endeavors as researchers are inherently ethical and have political consequences because as music teachers, we act on behalf of what John Dewey terms "the public."2 Dewey's "public" arises out of the need for social activities to be collectively organized, especially given the presence of the young, the poor, the ill, the elderly, the needy, and those who are otherwise dependent on others. Politics concerns the organization and governance of the public, that is the collective activities on behalf of society. For Dewey, educational activity cannot escape being ethical and political (construed positively) by the very fact of its undertaking on behalf of a public in the phenomenal world.3My understanding of fundamentalism is that it is, by definition, antithetical to liberalism. Whereas liberalism embraces surprise, entertains the possibility of doubt, and includes the "responsibility to choose,"4 fundamentalism is closed-minded and refuses to be surprised or to doubt the certainty of beliefs that have been accepted. Israel Scheffler notes that there is a safety in dogmatism in which one does not need to face the unsettlement of surprise that one might be wrong and one's beliefs mistaken.5 This quality of fallibility and openness to the possibility of surprise renders a liberal democracy fragile. Without cultivating [End Page 150] capacities and dispositions to open-mindedness and critical thought and action on the part of all the citizens of the democracy, it is open to being high-jacked by closed-mindedness and fundamentalism and thereby subject to dictatorial action on the part of those who seize political power.6 In difficult times, certainty may seem to be safer than open-mindedness that weighs possibilities and thinks through the complexities with which the public must deal. As Paul Woodford argues, if music education is to serve the interests of liberalism, it must likewise cultivate critical thinking and I add the caveat, as a means of defeating fundamentalism and literalism that would destroy liberal democracy.7Liberalism depends on the assertion of certain universal principles of ethical conduct. Seyla Benhabib's reconstruction of universals in what she terms her "post-Enlightenment project of interactive universalism" takes account of important postmodern, feminist, and communitarian insights and understands universals as "interactive not legislative, cognizant of gender difference not gender blind, contextually sensitive and not situation indifferent."8 In this frame, it is only possible to sustain liberalism on the assumption of action that takes for granted that others ought to agree with one and act in such-and-such ways. Whether these principles are referred to as "commonalities" or "universals" in the Benhabibian sense, one appeals to certain propositions on which ethical and political action should be predicated... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Four Philosophical Models of the Relation Between Theory and PracticeEstelle R. JorgensenSince music education straddles theory and practice, my purpose is to sketch the strengths and weaknesses of four philosophical models of the relationship between theory and practice. I demonstrate that none of them suffices when taken alone; each has something to offer and its own detractions. And I conclude with four suggested ways in which the analysis can (...) be helpful to music teachers and those interested in their work.Clarifying what is meant by theory and practice raises a nest of conceptual problems. Concerning theory, it may be tempting to equate the terms "theory" and "philosophy." Among their shared properties, these terms deal with conceptual and abstract entities that, from the Enlightenment at least, have been held to be distinct from the phenomenal world. They also clarify ideas and distinguish one concept from another. Among their different purposes, the object of philosophy is the asking of questions in a search for wisdom or truth whereas theory is formulated for explanatory purposes, especially within the frame of scientific propositions that can be refuted through empirical observations. The tests of philosophy are, therefore, those of symbolic logic evidenced in principles such as [End Page 21] internal consistency, correspondence with evidence (deductive, inductive, or analogical), and coherence within a unity or whole. Although logical criteria may also be important in formulating and testing theory,1 it is tested and refuted primarily through means of qualitative descriptions and quantitative assessments of observable phenomena.Regarding practice, one is also confronted with an ambiguous construct that may be interpreted descriptively (what is done in the phenomenal world or taken to be the general state of affairs) or normatively (what is desirable or ideal). There is also the distinction between the practice of a seasoned performer and practice in the sense of striving towards the mastery of a competent and expert practice. In this regard, Vernon Howard distinguishes between "practice" (or the skills exemplified by proficient or expert performers) and "practise (or acquiring the level of mastery of proficient or expert performance)."2 For him, the ambiguous and paradoxical nature of artistic practice highlights the complexity of degrees of attaining mastery of skills or exemplary practice and the diverse array of skills ranging from habit to critical thinking involved in the practice of any art. Although each practice is distinguished by its own belief systems, rituals, expectations, and commonsense, boundaries between differing practices are sometimes "soft" or fuzzy, as one seeps into another.3 Consequently, it is often difficult to distinguish one from another at the margins where one practice becomes another.DichotomyThe notion of theory and practice as independent or a dichotomous relationship between the phenomenal world on the one hand and the mind and spirit on the other has its roots in the ancient world. For Plato, the world of "appearances," referring to the phenomenal world understood by imagination (eikasia) and belief (pistis), should be distinguished from the higher, abstract "intelligible world" grasped through thinking (dianoia), knowledge (episteme), and intelligence (noesis).4 René Descartes' later bifurcation of the inner and outer worlds and inversion of Platonic values and understandings resulted in the ascendancy of careful and deliberate observation of the phenomenal world over philosophical reflection.5 His ideas helped to set the stage for the Enlightenment and the Industrial, Scientific, and Information Revolutions. Empiricism, science, and technology gradually displaced philosophy as primary ways of knowing the phenomenal world and understanding the nature of mind, human cognition, feeling, and being. Making hard-boundaried distinctions between within and without one's self, the phenomenal world and the world of spiritual things, and theory and practice were important insights. These distinctions provided for limits on the sorts of ways in which truth could be known. Reasoned deliberation [End Page 22] and imaginative thought have particular usefulness in the world of theory while sensory perception and careful observation are especially useful in the phenomenal world of practice. So while the scholar might speculate about phenomena, observational tools are also useful in coming to know and understand them. Reason and observation each have particular strengths, and it ought not be assumed that philosophy or scientific observation... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Futures for Music Education PhilosophyEstelle R. JorgensenIn 1990, when I convened the first International Symposium for the Philosophy of Music Education at Bloomington, Indiana, there was one dominant philosophy of music education in the United States and another was about to make its appearance. The five succeeding symposia (Toronto, Canada, in 1994, led by David Elliott; Los Angeles, United States, in 1997, led by Anthony Palmer and (...) Frank Heuser; Birmingham, United Kingdom, in 2000, led by Mary Reichling and Forest Hansen; Lake Forest, Illinois, United States, in 2003, led by Iris Yob, Frank Heuser, and Forest Hansen; and Hamburg, Germany, in 2005, led by Charlene Morton, Paul Woodford, Frede Nielsen, and Jürgen Vogt) have promoted other philosophies. And this burgeoning of different voices and perspectives has greatly enriched the philosophical underpinnings of music education and moved us from relying on a narrow range of philosophical views towards a plethora of them.In our infant society, the International Society for Philosophy of Music Education (ISPME), we are creating and institutionalizing a forum that can nurture and critique ideas and practices and sustain the work of philosophical reflection in music education over the longer term. We have also benefited from long-term commitments by the Indiana University School of Music and Indiana University [End Page 15] Press to publishing the Philosophy of Music Education Review, now in its fourteenth volume (building on three years of publication of the Philosophy of Music Education Newsletter), and the Counterpoints: Music and Education series that provides an important venue for publishing cutting-edge scholarship in our field. And over the past two years, we have begun to build an international team of philosophers committed to establishing a strong philosophical society in music education.Beyond institutionalizing philosophical scholarship in music education, our society is committed to creating a genuinely international community that offers a global perspective. In the past, music education grew up within national borders and its work was often nationalistic in emphasis. Now, we face new challenges of thinking beyond these national commitments to a world of music education. This world might be seen as what Maxine Greene aptly terms "multiplicities and pluralities,"1 the many differing groups forged within language groups, religious perspectives, political ideologies, economic strictures, and familial obligations. And as philosophers, we work especially within our various linguistic and cultural traditions as we also seek to transcend these traditions in a common discourse.How shall we address philosophically the multiplicities and pluralities, commonalities and differences in music education internationally? Radical relativism and pluralism offer contrasting perspectives.2 Radical relativism sees the host of different music education beliefs and practices around the world as incommensurable and focuses on differences between them. For example, viewing Japanese and British music education within this stance would suggest that since Japanese and British music education reflect Japanese and British society and culture respectively, each cannot be understood in terms of the other, they are different and incommensurate with the other, and it is important to understand each in its own terms. Pluralism, however, sees differences as commensurable and focuses on shared attributes. Since human beings are the creators of culture and society, common threads amidst the differences emerge from this common humanity. For example, as a reflection of their different societies and cultures, although we expect to encounter differences between British and Japanese music education, we may also observe commonalities since they both bear the imprint of a shared humanity.Notwithstanding that musics and educational systems seem, upon first glance and when considered specifically, to be incommensurable, a deeper and more general examination turns up evidence supporting a pluralist perspective.3 Historically, cultures regularly borrow from different others as if there were common human threads. Maurice Ravel, Carl Orff, and Paul Simon are among twentieth-century composers to draw on cultures from the Far East and Africa. In music [End Page 16] education, Masafumi Ogawa's study of the introduction of Luther Whiting Mason's ideas into Japan in the nineteenth century,4 the dissemination of Shinichi Suzuki's ideas into the United States, the spread of Zoltán Kodály's, Émile Jaques-Dalcroze's, and Carl Orff's and Gunild... (shrink)

I argue that the offense generation pattern of slurring terms parallels that of impoliteness behaviors, and is best explained by appeal to similar purely pragmatic mechanisms. In choosing to use a slurring term rather than its neutral counterpart, the speaker signals that she endorses the term. Such an endorsement warrants offense, and consequently slurs generate offense whenever a speaker's use demonstrates a contrastive preference for the slurring term. Since this explanation comes at low theoretical cost and imposes few constraints on (...) an account of the semantics of slurs, this suggests that we should not require semantic accounts to provide an independent explanation of the offense profile. (shrink)

Several authors have recently suggested that moral factors and norms `encroach' on the epistemic, and because of salient parallels to pragmatic encroachment views in epistemology, these suggestions have been dubbed `moral encroachment views'. This paper distinguishes between variants of the moral encroachment thesis, pointing out how they address different problems, are motivated by different considerations, and are not all subject to the same objections. It also explores how the family of moral encroachment views compare to classical pragmatic encroachment accounts.

Thomas Kuhn's The Structure of Scientific Revolutions has sold more than one million copies since its publication in 1962, is one of the most cited academic books of all time, and continues to be read and studied today. This volume of new essays evaluates the significance of Kuhn's classic book in its changing historical context, including its initial reception and its lasting effects. The essays explore the range of ideas which Kuhn made popular with his influential philosophy of science, including (...) paradigms, normal science, paradigm changes, scientific revolutions, and incommensurability; and they also look at less-studied themes in his work, including scientific measurement, science education, and science textbooks. Drawing on the latest scholarship as well as unpublished material in the Thomas Kuhn Archives at MIT, this volume offers a comprehensive way into Kuhn's philosophy and demonstrates the continuing relevance of his ideas for our understanding of science. (shrink)

Изложено понимание рассуждения как метода рационального познания, рассмотрены его разновидности: аргументативные, интерпретативные, прогностические, квалификационные и вычислительные. Для аспирантов и соискателей.

In Nicolaus Cusanus on Faith and the Intellect: A Case Study in 15th-Century Fides-Ratio Controversy, K.M. Ziebart presents an account of the Cusan epistemology as a fascinating late-medieval attempt to definitively harmonize faith and reason.

In this paper, I focus on the representations of Black women in contrast to Black men found within Frantz Fanon’s philosophical work Black Skin, White Masks. I propose that while Fanon’s racial dialectical work is very significant, he often lacks acknowledgment of the multidimensionality of the Black woman’s lived experience specifically. Drawing on the theory of intersectionality, coined by Kimberlé Crenshaw, I argue that Fanon does not recognize the different layers of oppression operating in Black women’s lives to the degree (...) that he fails to include them within his framework of both liberation and resistance from racial oppression. (shrink)

In addition to protecting agents’ autonomy, consent plays a crucial social role: it enables agents to secure partners in valuable interactions that would be prohibitively morally risk otherwise. To do this, consent must be observable: agents must be able to track the facts about whether they have received a consent-based permission. I argue that this morally justifies a consent-practice on which communicating that one consents is sufficient for consent, but also generates robust constraints on what sorts of behaviors can be (...) taken as consent- communicating. (shrink)

Law-enforcement agencies are increasingly able to leverage crime statistics to make risk predictions for particular individuals, employing a form of inference that some condemn as violating the right to be “treated as an individual.” I suggest that the right encodes agents’ entitlement to a fair distribution of the burdens and benefits of the rule of law. Rather than precluding statistical prediction, it requires that citizens be able to anticipate which variables will be used as predictors and act intentionally to avoid (...) them. Furthermore, it condemns reliance on various indexes of distributive injustice, or unchosen properties, as evidence of law-breaking. (shrink)

Kuhn’s Structure of Scientific Revolutions has been attacked for many reasons. Key analytic terms, most importantly “paradigm,” were widely regarded as poorly defined. To many readers Structure seemed to suggest that the process of theory change is irrational, or at least non-rational. And even his characterization of normal science seemed to some readers to paint a very unflattering picture of scientists as excessively dogmatic and uncritical. More recently, Lorraine Daston has argued that the notion of “structure” that figures in the (...) title of the book, as well as in the analysis of the history of science discussed throughout the book, is “dusty and dated”. Historians of science tend to focus on the particular, in recognition that the sorts of events they study are unique. My aim in this paper is to defend Kuhn’s appeal to the notion of structure. First, I argue that Structure of Scientific Revolutions is not primarily a contribution to the history of science, despite the fact that it cites many historical sources and articles in the history of science. Consequently, it is a mistake to regard Kuhn’s appeal to the notion of structure as a case of badly written history of science. Second, I argue that insofar as the book is a contribution to philosophy, the sort of thing Kuhn means by “structure” is perfectly respectable, and is often presupposed in many philosophical studies, especially in general philosophy of science. Third, I defend Kuhn’s analysis of science, especially the enterprise of identifying the structure of scientific revolutions. (shrink)

The problem of moral disagreement has been presented as an objection to contextualist semantics for ‘ought’, since it is not clear that contextualism can accommodate or give a convincing gloss of such disagreement. I argue that independently of our semantics, disagreements over ‘ought’ in non-cooperative contexts are best understood as indirect metalinguistic disputes, which is easily accommodated by contextualism. If this is correct, then rather than posing a problem for contextualism, the data from moral disagreements provides some reason to adopt (...) a semantics that allows contextual variance in the meanings of ‘ought’. (shrink)

Some, but not all, of the mistakes a person makes when acting in apparently necessary self-defense are reasonable: we take them not to violate the rights of the apparent aggressor. I argue that this is explained by duties grounded in agents' entitlements to a fair distribution of the risk of suffering unjust harm. I suggest that the content of these duties is filled in by a social signaling norm, and offer some moral constraints on the form such a norm can (...) take. (shrink)