In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 188-198 [Access article in PDF] Symposium: On Ken Burns's "Jazz" On Representing Jazz: An Art Form in Need of Understanding Garry L. Hagberg ALTHOUGH IT WENT ON in smaller numbers in earlier decades, the fact that there were legions of expatriate jazz musicians fleeing to a far more appreciative Europe in the 1960s and 1970s shows how important a cultural event Ken Burns's (...) documentary on the first century of jazz really is. Those expatriate players were all but forced out by a rapidly diminishing audience and a corresponding lack of appreciation for their artistic achievements and abilities. It is in any social context an achievement to gain an audience for an undervalued artform of between three and four million viewers for nineteen hours; to have done so against the backdrop of the fact—one bitter to swallow for so many American players of those years—that the country of origin for this artform was so slow to significantly value it, makes this documentary almost a form of cultural emergency-relief. But it also raises the stakes in how jazz is represented, which of its features are focused upon, and what kind of story is told about its development. In my opinion the film makes deeply serious errors in each of these ways—almost to the point of turning this seemingly magnificent gift to jazz into a Trojan horse—but here I'd like to focus on five of the features of jazz as an art that I think make jazz particularly difficult to portray in a reduced or simplified form. To put the point a bit more strongly: without an awareness of (at the least) these five features of jazz, any attempted portrayal would run the very serious danger of engendering or further nurturing the very incomprehension of the artistic or aesthetic achievements of jazz that drove all those American players to Copenhagen, Paris, London, Munich, Vienna, and Amsterdam in the first place. It is, in short, necessary to provide at least a sense of what is [End Page 188] intrinsically problematic about the artform to illuminate both its distinctive nature and the aesthetic problems—taken by its practitioners as its internally generated artistic challenges—that give this artform its dynamic energy.First, there is the fundamental question concerning the metaphysics of a jazz piece, i.e., what kind of thing it is. At a glance one can see that a familiar attempt to answer this question within the larger field of the aesthetics of music, i.e., the identification of the work with the score, will have precious little plausibility when applied to jazz. As any jazz musician or aficionado knows, jazz pieces that become "standards" are pieces that are performed countless times, in innumerably variegated ways, and what is usually of greatest interest about any given performance of a standard is not, indeed, how well or to what extent it instantiates a predetermined ideal of the piece as specified in the score, but rather how it departs from, or adds distinctive interpretive content, to the basic structure of the piece. This aesthetically significant fact is reflected in the correlated common practice of using, not scores, but rather schematic "lead sheets" that provide the very basic harmonic and melodic material of the piece. Even larger-ensemble pieces, e.g., the scores of Duke Ellington, are notated only in the sectional writing; the improvisational sections—the sections that many would say give the distinctive life to any given performance—are of course not notated. There are fully notated scores of many—to use a dangerously complicated word—classic jazz performances, but in jazz parlance these, here again with aesthetic significance, are not called scores, but rather transcriptions, and in this improvisational artform it would be cause for suspicion rather than congratulation if a player were to perform a given work exactly in accordance with the transcription repeatedly. The nature of the jazz piece, the jazz composition, is thus extraordinarily fluid and only minimally defined. And as one might expect, the degree or the extent... (shrink)

In the penultimate chapter of his book, Art as Language, G. L. Hagberg presents an argument against Arthur Danto, George Dickie, and other advocates of the Institutional Theory (IT), arguing that a tension exists within the theory. Through conferral, a spokesperson declares what artifacts are accepted into the artworld. Hagberg finds this problematic because, while the criterion one uses is something that the later Wittgenstein would endorse, it points back to an essentialism that he clearly rejected. But (...) class='Hi'>Hagberg believes he can avoid this problem by applying Wittgenstein’s notion of certainty to specific artifacts in aesthetics. By relying on Wittgenstein’s notion of certitude, however, he exposes himself to a tension that exists in On Certainty: is certainty natural, or is it social? Although the propositions Hagberg uses have the potential to become certain, he treats them as if they begin that way. In this paper I present two ways in which Wittgenstein classifies or understands certainty: a bottom-up approach, where certainty is part of our natural and instinctual predisposition, and a top-down approach, where certainty is acquired through positive reinforcement. I believe Hagberg fails to appreciate this distinction as well as the consequences for his claim. (shrink)

There is growing interest in the use of neurointerventions to reduce the risk that criminal offenders will reoffend. Commentators have raised several ethical concerns regarding this practice. One prominent concern is that, when imposed without the offender’s valid consent, neurointerventions might infringe offenders’ right to bodily integrity. While it is commonly held that we possess a moral right to bodily integrity, the extent to which this right would protect against such neurointerventions is as-yet unclear. In this paper, we will assess (...) whether, why, and how severely three forms of neurointervention might infringe the right to bodily integrity. We show that the severity of the infringement of the right to bodily integrity differs across different forms of neurointervention. Moreover, we argue that mental and behavioral effects of neurointerventions could in some cases be relevant to determining the severity of infringements of the right to bodily integrity. (shrink)

The volume also publishes for the first time a part of his Debrecen Ph.D. thesis and it is concluded by a bibliography of his Hungarian writings.

We prove that the statement “there is aksuch that for everyfthere is ak-bounded diagonally nonrecursive function relative tof” does not imply weak König’s lemma over${\rm{RC}}{{\rm{A}}_0} + {\rm{B\Sigma }}_2^0$. This answers a question posed by Simpson. A recursion-theoretic consequence is that the classic fact that everyk-bounded diagonally nonrecursive function computes a 2-bounded diagonally nonrecursive function may fail in the absence of${\rm{I\Sigma }}_2^0$.

The tension between scientific openness versus secrecy has existed for centuries (Hull 1985). However, both academics and practitioners have recently argued that openness by private firms has many positive attributes. The purpose of this research effort is to review the extant literature on openness and to develop hypotheses regarding its impact on organizational outcomes. We then use a unique database to test the idea with 87 companies. Our findings are that openness is beneficial to the firm from a science, technological, (...) and financial perspective and, perhaps, to the employees from an ethical viewpoint. The managerial and societal implications are also discussed. (shrink)

Even a decade after the end of the 1914–1918 war, economic theory assumed that the world was tranquil and orderly. By 1939 an economic slump without parallel, allied to the re-emergence of military ambition in Europe, had brought economic theorists face to face with reality. In this classic book, first published in 1967, Professor Shackle provides a study, in exact and professional language, of the precise nature, structure, presuppositions, language and inter-relations of the theories which were formulated in these fourteen (...) years - unparalleled in the whole history of economics except perhaps by the years of the Physiocrats and Adam Smith. These theories are not prototypes on the way to something better but are of essential and permanent importance. (shrink)

Animal welfare involves societal and human values, ethical concerns and moral considerations since it incorporates the belief of what is right or what is wrong in animal treatment and care. This paper aims to ascertain whether the different dimensions of individual attitudes toward animal welfare in food choices may be characterized by general human values, as identified by Schwartz. For this purpose, an EU-wide survey was carried out, covering almost 2500 nationally representative individuals from five European countries. Compared with the (...) previous literature this study shows a twofold novelty: it develops a general framework to link individual enduring beliefs and attitudes toward animal welfare attributes in food choices; the framework is analyzed within a broad-based cross-country study. Our empirical results prove that human values related to self-transcendence are strongly associated to overall animal welfare attitudes and especially to those explicitly related to food choices, while values related to the spheres of self-enhancement and conservatism are significantly associated to less sensitive attitudes to animal welfare. Moreover, our results appear to indicate that a determinant of animal welfarism in food choices is potentially associated to individual concerns regarding food safety issues. (shrink)