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

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

Consciousness has been defined as that annoying period between naps, and this grumpy definition may not be wholly facetious, if Michael Tye’s latest book is right. Tye’s main goal here is to develop a theory of the phenomenal unity of experience at a time, and its diachronic analog, the moment-to-moment continuity of one’s experiential stream from the time one wakes up to the time consciousness lapses.

Critical Realism and Marxism addresses controversial debates, revealing a potentially fruitful relationship; deepening our understanding of the social world and contibuting towards eliminating barbarism in contemporary capitalism.

Review boards responsible for vetting the ethical conduct of research have been criticised for their costliness, unreliability and inappropriate standards when evaluating some non-medical research, but the basic value of mandatory ethical review has not been questioned. When the standards that review boards use to evaluate research proposals are applied to review board practices, it is clear that review boards do not respect researchers or each other, lack merit and integrity, are not just and are not beneficent. The few benefits (...) of mandatory ethical review come at a much greater, but mainly hidden, social cost. It is time that responsibility for the ethical conduct of research is clearly transferred to researchers, except possibly in that small proportion of cases where prospective research participants may be so intrinsically vulnerable that their well-being may need to be overseen. (shrink)

" With this succinct formulation, Murray Bookchin launches his most ambitious work, The Ecology of Freedom.

In his new introduction to this current edition of this classic in the field originally published in 1982 (Humanities Press), Hoppe (economics, U. of Nevada, Las Vegas--as was the late author) extols Rothbard's marriage of the "value-free" science of economics with the normative enterprise of ethics and their offspring: libertarianism. Discussion areas are: natural law, a theory of liberty, the state vs. liberty, modern alternative theories of liberty, and toward a theory of strategy for liberty. Annotation copyrighted by Book News, (...) Inc., Portland, OR. (shrink)

Professor Brown describes and criticises the major classical model of rationality and offers a new model of this central concept in the history of philosophy and of science.

Dealing with the nature of historical knowledge, this book is concerned with both philosophical and historical questions. It involves considerations as various as statistical hypothesis testing, componential analysis and the problem of the Synoptic Gospels. --.

A challenging new work of cultural and political theory rethinks the concept of hegemony.

One of the challenges of modern healthcare ethics practice is the navigation of boundaries. Practicing healthcare ethicists in the performance of their role must navigate meanings, choices, decisions and actions embedded in complex cultural and social relationships amongst diverse individuals. In light of the evolving state of modern healthcare ethics practice and the recent move toward professionalization via certification, understanding boundary navigation in healthcare ethics practice is critical. Because healthcare ethics is endowed with many boundaries which often delineate concerns about (...) professional expertise and authority, epistemological reflection on the relationship between theory and practice points toward the social context as relevant to the conceptualization of boundaries. The skills of social scientists may prove helpful to provide data and insights into the conceptualization and navigation of clinical ethics qua profession. Empirical ethics research, which combines empirical description (usually social scientific) with normative-ethical analysis and reflection, is a way forward as we engage and reflect upon issues which have implications for practice standards and professionalization of the role. This requires cooperative engagement of the descriptive and normative disciplines to explore our understandings of boundaries in healthcare ethics practice. This will contribute to the ongoing reflection not only as we envision the professional role but to ensure that it is enacted in practice. (shrink)

This is a commentary on selected texts of Plato concerned with poetry: the Ion and relevant sections of the Republic. It is the first commentary to present these texts together in one volume, and the first in English on Republic 2 and 3 and Ion for nearly 100 years. The introduction sets Plato's views in their Greek context and outlines their influence on later aesthetic thought. An important feature of the commentary is its exploration of the ambivalence of Plato's pronouncements (...) through an analysis of his own skill as a writer. (shrink)

This chapter suggests that descriptive epidemiological studies like the Global Burden of Disease Study can usefully be divided into four tasks: describing individuals’ health states over time, assessing their health states under a range of counterfactual scenarios, summarizing the information collected, and then packaging it for presentation. The authors show that each of these tasks raises important and challenging ethical questions. They comment on some of the philosophical issues involved in measuring health states, attributing causes to health outcomes, choosing the (...) counterfactual against which to assess causes, aggregating and summarizing complex information across multiple domains, discounting, age-weighting, handling fetal deaths, measuring health inequalities, representing uncertainty, and assessing personal responsibility for health outcomes. (shrink)

Kovacs argues that honorary authorship and regarding each co-author of multi-authored papers as if they were sole authors when the performance of researchers is being evaluated by their publications mean that we should require authors to identify what proportion of each publication should be attributed to each co-author. Even if such attributions could be made reliably, such a change should not be made. Contributions to authorship cannot be validly quantified, and the relative merits of different publications are also neither equal (...) nor validly quantifiable. Research administrators need to recognise that whatever criteria they adopt to evaluate the performance of researchers, researchers will find a way to game the system in order to maximise their personal benefit. (shrink)

According to the Desiderative Lockean Thesis, there are necessary and sufficient conditions, stated in the terms of decision theory, for when one is truly said to want. What one is truly said to want, it turns out, varies remarkably by context—and to an underappreciated degree. To explain this context-sensitivity—and closure properties of wanting—I advance a Desiderative Lockean view that is distinctive in having two context-sensitive parameters.

A qualitative analysis of societal silences, demonstrating how the unsaid directs social action and shapes individual and collective lives.

From this post-reflective point of view, the book argues for an intimate relationship between cognition, sensorimotor embodiment, and the integrative character ...

The seventeenth century was a period of extraordinary invention, discovery and revolutions in scientific, social and political orders. It was a time of expansive automation, biological discovery, rapid advances in medical knowledge, of animal trials and a questioning of the boundaries between species, human and non-human, between social classes, and of the assumed naturalness of political inequality. This book gives a tour through those objects, ordinary and extraordinary, which captivated the philosophical imagination of the single most important French philosopher of (...) this period, Rene Descartes. Deborah J. Brown and Calvin G. Normore document Descartes' attempt to make sense of the complex, composite objects of human and divine invention, consistent with the fundamental tenets of his metaphysical system. Their central argument is that, far from reducing all the categories of ordinary experience to the two basic categories of substance, mind and body, Descartes' philosophy recognises irreducible composites that resist reduction, and require their own distinctive modes of explanation. (shrink)

You want to see the concert, but don’t want to take a long drive (even though the concert is far away). Such *strongly conflicting desire ascriptions* are, I show, wrongly predicted incompatible by standard semantics. I then object to possible solutions, and give my own, based on *some-things-considered desire*. Considering the fun of the concert, but ignoring the drive, you want to see the concert; considering the boredom of the drive, but ignoring the concert, you don’t want to take the (...) drive. (shrink)

In recent years, campaigns across the globe have called for the removal of objects symbolic of white supremacy. This paper examines the ethics of altering or removing such objects. Do these strategies sanitize history, destroy heritage and suppress freedom of speech? Or are they important steps towards justice? Does removing monuments and renaming schools reflect a lack of parity and unfairly erase local identities? Or can it sometimes be morally required, as an expression of respect for the memories of people (...) who endured past injustices; a recognition of this history's ongoing legacies; and a repudiation of unjust social hierarchies? (shrink)

In the Nicomachean Ethics Aristotle examines the nature of happiness, which he defines as a specially good kind of life. He considers the nature of practical reasoning, friendship, and the role and importance of the moral virtues in the best life. This new edition features a revised translation and valuable new introduction and notes.

This paper explores a novel philosophy of ethical care in the face of burgeoning biomedical technologies. I respond to a serious challenge facing traditional bioethics with its roots in analytic philosophy. The hallmarks of these traditional approaches are reason and autonomy, founded on a belief in the liberal humanist subject. In recent years, however, there have been mounting challenges to this view of human subjectivity, emerging from poststructuralist critiques, such as Michel Foucault's, but increasingly also as a result of advances (...) in biotechnology itself. In the face of these developments, I argue that the theoretical relevance and practical application of mainstream bioethics is increasingly under strain. Traditionalists will undoubtedly resist. Together, professional philosopher-bioethicists, public health policymakers, and the global commercial healthcare industry tend to respond conservatively by shoring up the liberal humanist subject as the foundation for medical ethics and consumer decision-making, appealing to the familiar tropes of reason, autonomy, and freedom. (shrink)

In this study of the works of Sren Kierkegaard, Murray Rae focuses on his understanding of the Christian faith and the nature of Christian conversion. The transformation of an individual under the impact of revelation is explored both in terms of the New Testament concept of metanoia and in comparison with claims to cognitive progress in other fields.

Algorithms wield increasing control over our lives—over which jobs we get, whether we're granted loans, what information we're exposed to online, and so on. Algorithms can, and often do, wield their power in a biased way, and much work has been devoted to algorithmic bias. In contrast, algorithmic neutrality has gone largely neglected. I investigate three questions about algorithmic neutrality: What is it? Is it possible? And when we have it in mind, what can we learn about algorithmic bias?

Although parents are the default legal surrogate decision-makers for minor children in the U.S., shared decision making in a pluralistic society is often much more complicated, involving not just parents and pediatricians, but also grandparents, other relatives, and even community or religious elders. Parents may not only choose to involve others in their children’s healthcare decisions but choose to defer to another; such deference does not imply agreement with the decision being made and adds complexity when disagreements arise between surrogate (...) decision-makers for minor children and their physicians. I argue that clinicians and ethicists have a duty to consider voices marginalized by hierarchical structures, including but not limited to gender-based inequalities. This approach involves negotiating potential conflicts: between respecting differences of culture and religion, on one hand, and assuring that the wishes of those who are most invested in children’s lives are considered, on the other. (shrink)

This paper proposes a brain-inspired cognitive architecture that incorporates approximations to the concepts of consciousness, imagination, and emotion. To emulate the empirically established cognitive efficacy of conscious as opposed to non-conscious information processing in the mammalian brain, the architecture adopts a model of information flow from global workspace theory. Cognitive functions such as anticipation and planning are realised through internal simulation of interaction with the environment. Action selection, in both actual and internally simulated interaction with the environment, is mediated by (...) affect. An implementation of the architecture is described which is based on weightless neurons and is used to control a simulated robot. (shrink)

This work represents Murray Bookchin's riposte to the antihumanism, mysticism and antirationalism which are influencing many people's attitudes to environmental problems. Bookchin offers a critique of, among others, social Darwinists, deep ecologists, new agers, technophobes, Foucault, Derrida and Baudrillard.

Utterances of natural language sentences can be used to communicate not just contents, but also forces. This paper examines this topic from a cross-linguistic perspective on sentential mood. Recent work in this area focuses on conversational dynamics: the three sentence types can be associated with distinctive kinds of conversational effects called sentential forces, modeled as three kinds of updates to the discourse context. This paper has two main goals. First, it provides two arguments, on empirical and methodological grounds, for treating (...) sentential force as part of a compositional dynamic semantics, rather than a dynamic pragmatics. Second, it formulates a minimal dynamic semantic analysis that covers the data at the heart of these arguments, incorporating existing analyses of the three major moods, evidentials and conjunction. A further aim of the paper is to sharpen the distinction between sentential force and utterance force, and discuss its implications. (shrink)

Pre-Socratic philosophy. - Plato. - Aristotle. - Post-Aristotelian philosophy. - The Theory of art: Quintilian, Longinus, and Philostratus. - Plotinus. - The lesser Neoplatonists. - Neoplatonic views of three early Christians. - Mediaeval descriptive psychology. - The psychology of the mystics. - Dante's theory of vision. - Conclusion.

Murray Smith presents an original approach to understanding film. He brings the arts, humanities, and sciences together to illuminate artistic creation and aesthetic experience. His 'third culture' approach roots itself in an appreciation of scientific innovation and how this has shaped the moving media.

The influence of degree of organization on the ability of Ss to recall lists of syllables immediately after learning was used as a measure in applying the concept of information to the problem of learning. More syllables were correctly recalled from a passage with a lower average rate of information than from a passage with a higher average information rate. The amount of information learned by the Ss was constant when the degree of organization was between 2 and 1.5 bits (...) per syllable. (shrink)