Researchers have long debated the extent to which an individual’s skin tone influences their perceived race. Brooks and Gwinn demonstrated that the race of surrounding faces can affect the perceived skin tone of a central target face without changing perceived racial typicality, suggesting that skin lightness makes a small contribution to judgments of race compared to morphological cues. However, the lack of a consistent light source may have undermined the reliability of skin tone cues, encouraging (...) observers to rely disproportionately on morphological cues instead. The current study addresses this concern by using 3D models of male faces with typically Black African or White European appearances that are illuminated by the same light source. Observers perceived target faces surrounded by White faces to have darker skin than those surrounded by Black faces, particularly for faces of intermediate lightness. However, when asked to judge racial typicality, a small assimilation effect was evident, with target faces perceived as more stereotypically White when surrounded by White than when surrounded by Black faces at intermediate levels of typicality. This evidence of assimilation effects for perceived racial typicality despite concurrent contrast effects on perceived skin lightness supports the previous conclusion that perceived skin lightness has little influence on judgments of racial typicality for racially ambiguous faces, even when lighting is consistent. (shrink)

Fundamental frequency, perceived as pitch, is the first and arguably most salient auditory component humans are exposed to since the beginning of life. It carries multiple linguistic and paralinguistic functions in speech and communication. The mappings between these functions and ƒ0 features vary within a language and differ cross-linguistically. For instance, a rising pitch can be perceived as a question in English but a lexical tone in Mandarin. Such variations mean that infants must learn the specific mappings based on (...) their respective linguistic and social environments. To date, canonical theoretical frameworks and most empirical studies do not view or consider the multi-functionality of ƒ0, but typically focus on individual functions. More importantly, despite the eventual mastery of ƒ0 in communication, it is unclear how infants learn to decompose and recognize these overlapping functions carried by ƒ0. In this paper, we review the symbioses and synergies of the lexical, intonational, and emotional functions that can be carried by ƒ0 and are being acquired throughout infancy. On the basis of our review, we put forward the Learnability Hypothesis that infants decompose and acquire multiple ƒ0 functions through native/environmental experiences. Under this hypothesis, we propose representative cases such as the synergy scenario, where infants use visual cues to disambiguate and decompose the different ƒ0 functions. Further, viable ways to test the scenarios derived from this hypothesis are suggested across auditory and visual modalities. Discovering how infants learn to master the diverse functions carried by ƒ0 can increase our understanding of linguistic systems, auditory processing and communication functions. (shrink)

In tone languages, some case studies showed that the word-level tonal representation was closely related to the underlying metrical pattern. Based on different tonal patterns in prosodic units, the metrical structures could generally be divided into the left- and right-dominant types in Chinese dialects. Yet the cross-dialectal phonetic realizations (e.g., duration and pitch) between or within these two metrical structures were still unrevealed. The current study investigated the duration and pitch realizations of disyllabic prosodic words in Changsha and Chengdu (...) dialects (the left-dominant structure), and in Fuzhou and Xiamen dialects (the right-dominant structure). Results showed that not all the duration patterns across four Chinese dialects were sensitive to different metrical structures, indicating that the duration might not be the universal cue for metrical prominence in Chinese dialects. In terms of pitch realization across all the four Chinese dialects, level tones (sometimes falling tones) generally appeared in the metrically weak unit, while underlying pitch forms appeared in the metrically strong unit. Compared with duration, pitch might be more robust for prosodic realizations of metrical structures in Chinese dialects. Furthermore, there was an interaction between duration and pitch patterns in Chinese dialects, which could shed new light on the phenomenon of “metrical tone sandhi”. Meanwhile, this study also provides some references for the judgment of the metrical stress and prosodic realizations in other Chinese dialects. (shrink)

Restating an interlocutor’s position in an incredulous tone of voice can sometimes serve legitimate dialectical ends. However, there are cases in which incredulous restatement is out of bounds. This article provides an analysis of one common instance of the inappropriate use of incredulous restatement, which the authors call “modus tonens.” The authors argue that modus tonens is vicious because it pragmatically implicates the view that one’s interlocutor is one’s cognitive subordinate and provides a cue to like-minded onlookers that dialectical (...) opponents are not to be treated as epistemic peers. (shrink)

This study investigated whether age and/or differences in hearing sensitivity influence the perception of the emotion dimensions arousal (calm vs. aroused) and valence (positive vs. negative attitude) in conversational speech. To that end, this study specifically focused on the relationship between participants’ ratings of short affective utterances and the utterances’ acoustic parameters (pitch, intensity, and articulation rate) known to be associated with the emotion dimensions arousal and valence. Stimuli consisted of short utterances taken from a corpus of conversational speech. In (...) two rating tasks, younger and older adults either rated arousal or valence using a 5-point scale. Mean intensity was found to be the main cue participants used in the arousal task (i.e., higher mean intensity cueing higher levels of arousal) while mean F 0 was the main cue in the valence task (i.e., higher mean F 0 being interpreted as more negative). Even though there were no overall age group differences in arousal or valence ratings, compared to younger adults, older adults responded less strongly to mean intensity differences cueing arousal and responded more strongly to differences in mean F 0 cueing valence. Individual hearing sensitivity among the older adults did not modify the use of mean intensity as an arousal cue. However, individual hearing sensitivity generally affected valence ratings and modified the use of mean F 0. We conclude that age differences in the interpretation of mean F 0 as a cue for valence are likely due to age-related hearing loss, whereas age differences in rating arousal do not seem to be driven by hearing sensitivity differences between age groups (as measured by pure-tone audiometry). (shrink)

The question of what determines brain laterality for auditory cognitive processing is unresolved. Here, we demonstrate a swap of hemisphere dominance from right to left during semantic interpretation of Chinese lexical tones in native speakers using simultaneously recorded mismatch negativity response and behavioral reaction time during dichotic listening judgment. The mismatch negativity, which is a brain wave response and indexes auditory processing at an early stage, indicated right hemisphere dominance. In contrast, the behavioral reaction time, which reflects auditory processing at (...) a later stage, indicated a right ear listening advantage, or left hemisphere dominance. The observed swap of hemisphere dominance would not occur when the lexical tone was substituted with a meaningless pure tone. This swap reveals dependence of hemisphere labor division initially on acoustic and then on functional cues of auditory inputs in the processing from sound to meaning. (shrink)

We demonstrated unconscious learning of task-irrelevant perceptual regularities in a Serial Reaction Time task in both visual and auditory domains. Participants were required to respond to different letters or syllables which occurred in random order. Unbeknownst to participants, the color of the two letters or the tone of the syllables varied according to certain rules. Reaction times indicated that people indeed learnt both the color and tonal regularities indicating that task-irrelevant sequence structure can be learned perceptually. In a subsequent (...) prediction test of knowledge of the color or tonal cues using subjective measures, we showed that people could acquire task irrelevant knowledge unconsciously. (shrink)

The conscious awareness of voluntary action is associated with systematic changes in time perception: The interval between actions and outcomes is experienced as compressed in time. Although this temporal binding is thought to result from voluntary movement and provides a window to the sense of agency, recent studies challenge this idea by demonstrating binding in involuntary movement. We offer a potential account for these findings by proposing that binding between involuntary actions and effects can occur when self-causation is implied. Participants (...) made temporal judgements concerning a key press and a tone, while they learned to consider themselves as the cause of the effect or not. Results showed that implied self-causation increased temporal binding. Since intrinsic motor cues of movement were absent, these results suggest that sensory evidence about the key press caused binding in retrospect and in line with the participant’s sense of being an agent. (shrink)

The sense of agency is the perception of willfully causing something to happen. Wegner and Wheatley proposed three prerequisites for SA: temporal contiguity between an action and its effect, congruence between predicted and observed effects, and exclusivity . We investigated how temporal contiguity, congruence, and the order of two human agents’ actions influenced SA on a task where participants rated feelings of self-agency for producing a tone. SA decreased when tone onsets were delayed, supporting contiguity as important, but (...) the order of the agents’ actions also mattered. Relative contiguity was the main determinant of SA, as delayed tones were usually attributed to the most recent action. This was unaffected by contingencies between the two actors’ actions , showing that contiguity has a powerful influence on SA, even during joint action in the presence of other cues. (shrink)

We extend Savage et al.'s music and social bonding hypothesis by examining it in the context of Chinese music. First, top-down functions such as music as political instrument should receive more attention. Second, solo performance can serve as important cues for social identity. Third, a right match between the tones in lyrics and music contributes also to social bonding.

Peculiar Attunements places the recent turn to affect into conversation with a parallel movement in European music theory of the eighteenth century. During that time the affects--or passions, as they were also called--formed a vital component of a mimetic model of the arts. Eighteenth-century critics held that artworks imitated or copied the natural world in order to produce copies of the affects in their beholders. But music caused a problem for such theories, since it wasn't apparent that musical tones could (...) imitate anything with any dependability, beyond the rare thunderclap or birdcall. Struggling to articulate how it was that music managed to move its auditors without imitation, certain theorists developed a new affect theory crafted especially for music, postulating that music's physical materiality as sound vibrated the nerves of listeners and attuned them to the affects through sympathetic resonance. This was a theory of affective attunement that bypassed the entire structure of representation, offering a non-discursive, corporeal alternative. It is a pendant to contemporary theories of affect, and one from which they have much to learn. Inflecting our current intellectual moment through eighteenth-century music theory and aesthetics, this book offers a reassessment of affect theory's common systems and processes. It offers a new way of thinking through affect dialectically, drawing attention to patterns and problems in affect theory that we have been given to repeating. Finally, taking a cue from eighteenth-century theory, it gives renewed attention to the objects that generate affects in subjects. (shrink)

© 2016 Elsevier LtdJumping spiders are famous for their visually driven behaviors [1]. Here, however, we present behavioral and neurophysiological evidence that these animals also perceive and respond to airborne acoustic stimuli, even when the distance between the animal and the sound source is relatively large and with stimulus amplitudes at the position of the spider of ∼65 dB sound pressure level. Behavioral experiments with the jumping spider Phidippus audax reveal that these animals respond to low-frequency sounds by freezing—a common (...) anti-predatory behavior characteristic of an acoustic startle response. Neurophysiological recordings from auditory-sensitive neural units in the brains of these jumping spiders showed responses to low-frequency tones —recordings that also represent the first record of acoustically responsive neural units in the jumping spider brain. Responses persisted even when the distances between spider and stimulus source exceeded 3 m and under anechoic conditions. Thus, these spiders appear able to detect airborne sound at distances in the acoustic far-field region, beyond the near-field range often thought to bound acoustic perception in arthropods that lack tympanic ears [2]. Furthermore, direct mechanical stimulation of hairs on the patella of the foreleg was sufficient to generate responses in neural units that also responded to airborne acoustic stimuli—evidence that these hairs likely play a role in the detection of acoustic cues. We suggest that these auditory responses enable the detection of predators and facilitate an acoustic startle response. Video. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Surprised by DisabilityEmily K. MichaelToday I am meeting Diana, one of my young blind students, for coffee. Soon she will enroll in our summer program that teaches blind teenagers independent living skills and self–advocacy. Her teachers explain that she has prepared questions for me.“So,” Diana begins, as we follow the uneven sidewalk toward the restaurant. “What would you do if you wanted to go outside without your sunglasses?”I can (...) guess why she poses this question, but I conceal my theory for now. Instead, I smile and adjust the large, dark sunglasses that fit over my regular glasses. “Why would I want to do that?”“I don’t know... Just say, you wanted to,” she finishes diffidently. She walks slightly in front of me, the familiar sound of her white cane scraping and tapping against the bricks laid in the sidewalk. I rarely travel with other blind people, so the sound of her cane comforts me.“I’m so sensitive to light that I’d be miserable without my shades,” I explain. I’m careful with my tone here. Like me, Diana is unable to read facial expressions—she listens attentively to vocal cues. She is a smart 13–year–old, and she will notice if I start to sound preachy. [End Page 207]“Okay, so what if you wanted to go out without your cane?”I’m ready for this one: “Diana, my cane keeps me safe. I’m happy to have it with me.” The cane alerts me to vital environmental changes, like the textural difference between sidewalks and streets. Unexpected curbs, sudden stairs, perilous sign-posts, and wayward children become apparent to me through the white cane. It is as if the cane helps sketch the boundaries around me; its contact with objects creates a vivid spatial awareness.I sense that my responses fill Diana with a mixture of defeat and frustration. I have not validated her reticence to use the shades or cane. Nor have I handed her a rhetorical placebo, a catchy phrase she can pull out whenever she feels uncomfortable with her disability. Resisting her white cane and dark glasses, she loathes the idea of looking different. Though neither of us can see others staring, we feel the judgment and pity—and the occasional sense of wonder from those for whom we’re still a novelty, the ones who want to point and exclaim, “Look Ma, a real blind girl!”Both Diana and I carry emblems of blindness that are easily recognized from a distance—visible signs of disability. Other disabled people can “pass” as nondisabled. If they don’t use wheelchairs, crutches, canes, dogs, or braces, no one will know that they have disabilities. Hence, the disabilities that don’t require visible accessories are called “invisible disabilities”—a term that strengthens the connection between disability and appearance.Diana doesn’t want to “look” blind. She wants me to give her an out, to divulge the strategies I’ve devised for leaving the house without my cane and shades. Underneath her casual questions lies the prevailing obsession, “What’s the secret to looking normal?” As a successful blind woman, I must have it figured out. The secret, Diana, is easy to articulate and difficult to enforce. I can write it more readily than I can live it.The secret begins with a very broad spectrum of acceptance. First, I must accept myself as a blind woman who needs a cane and dark glasses to travel in safety and confidence. Then I must accept that these mobility aids are uncommon and highly visible—which means that, almost every time I go out, people will approach me. And lastly, I must accept that the attitudes of others do not determine who I am, that their idea of blindness does not define my experience of it.The white cane was not always easy for me to carry. Though I have been legally blind from birth, I did not use the white cane in my daily life until high school. Before my freshman year, I could pass as nondisabled. At high school, I found myself on a large, crowded campus with only six minutes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Philosopher’s Seduction: Hume and the Fair SexVicki J. SappFollowing the failed reception of his Treatise David Hume turned to writing essays and published these in various editions throughout his career. Among the first offerings were essays addressing “the female reader,” “the ladies,” or “the fair sex” in that current habit which Jonathan Swift labelled “fair-sexing it.” Hume’s Victorian editors T. H. Green and T. H. Grose classified and (...) commented upon these woman-appeal essays “apparently designed to attract the attention of ladies, and marked by the mannerisms of what was then a fashionable literature,” concluding that these “can hardly have been much to their writer’s taste, and... mingle strangely with a series of discussions on the British Constitution.” 1 Green and Grose refer to the fact that Hume gradually eliminated his woman-appeal essays from the editions; today, we find these “literary” texts safely removed from the “moral and political” frame and anthologized as “Essays Withdrawn and Unpublished” in the two modern editions of Hume’s essays. 2Following Hume’s apparent cue, the critical tradition has paid little heed to the woman-appeal essays except in those cases where kind neglect has given over to insult or factionalism. From the former category we find contemporary readers such as M. A. Box who in his rhetorical analysis of Hume’s opus echoes earlier judgments of these essays as frivolous, mercenary, essentially devoid of substantive or stylistic worth—and most certainly unphilosophical. In the latter case, scattered commentators from the 1970s and 1980s reflecting those decades’ gynocritical trend built cases for Hume’s “sexism” (primarily) or “feminism” (most notably the philosopher Annette Baier). And Jerome Christensen has attended to Hume’s female reader in his [End Page 1] elaborate theoretical play with Hume’s gender as a metaphor for his literary ambitions. 3What is curious is that each of the above readers has passed over the woman-appeal essays in favor of Hume’s “serious” writing (for example, Treatise, Book III, Part II, sect. xii, “Of Chastity and Modesty”) or his letters, even though the rejected woman-appeal essays are obviously rich sources for a study of Hume’s gender perspectives. It is true that in “Of Chastity and Modesty” Hume offers what is perhaps his best evidence of society’s conventional as opposed to metaphysical foundations, in his argument that the laws of chastity governing female education and behavior are certainly “notions... founded on the public interest,” that is, patriarchal property interest. In the woman-appeal essays Hume actually works out, by illustration, the gender-biased foundational intricacies of his social contract philosophy, especially the importance of education to the regulation of society: “As publick praise and blame encrease our esteem for justice; so private education and instruction contribute to the same effect.... For these reasons [parents] are induc’d to inculcate on their children, from the earliest infancy, the principles of probity, and teach them to regard the observance of these rules, by which society is maintain’d, as worthy and honourable, and their violation as base and infamous.” 4The rejected woman-appeal essays include titles that bespeak a focus on gender, education, and social formation (“Of Love and Marriage,” “Of Moral Prejudice”), as well as titles that appear more public or scholarly: “Of Essay Writing,” “Of the Study of History.” In spite of their topical neutrality or marginally “political” tone, these latter two I identify as Hume’s core woman-appeal essays. In them Hume brings the female reader into the spotlight, inviting her into a dialogue with the male philosopher-essayist; she is to share in a sort of Humean Utopia of gender-mixed educated, genteel company servicing the ends of true philosophy in the marriage of intellection and experience. As overt appeals to “women of Sense and Education” featuring some gestures towards gender equality, these essays, one suspects, were doomed to eventual rejection by both Hume and a subsequent critical tradition prone to the kneejerk devaluation of woman-appeal.I offer here evidence that the rejected essays do have “philosophical” merit as they take up or dramatize core ideas of Treatise philosophy. These essays also feature some... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Understanding the Score: Film Music Communicating to and Influencing the AudienceJessica Green (bio)IntroductionWhen most people sit down to watch a film, their focus usually stays on the very dynamic images that move onscreen. The dialogue, as a form of diegetic sound, is probably the next piece of the film they concentrate on, but this only imitates actual experience, since most people understand communication by both watching and listening. Christian (...) Metz, in his influential text Film Language: A Semiotics of the Cinema, describes film as “Born of the fusion of several pre-existing forms of expression, which retain some of their own laws (image, speech, music, and noise),” to which he later adds “written materials” as a fifth component.1 Of these five channels of information included in film, music is the most artificial because in many films the majority of music is nondiegetic. For the audience, it is also the channel most removed from everyday life. While people do interact with images, the spoken word, text, and sound in the normal course of a day, people do not walk around constantly supported by a sensitive soundtrack that follows their emotions and thoughts.Yet despite the artificiality of the musical score in comparison with everyday life, audiences have come to accept film music as an integral part of what it means to watch a film. Films that fail to use much music or fail to use it well often have a problem involving the audience as completely as films that embrace music as a tool that can expose the inner feelings and thoughts of characters and can shape the way that viewers feel about what’s happening on screen. To understand the importance of film music, Stam, Burgoyne, and Flitterman-Lewis further explain why it is important to examine music as a significant channel through which the audience makes meaning of the film: “Metz’s definition of the cinema’s matter of expression as consisting of five tracks—image, dialogue, noise, music, written materials—served to call attention to the soundtrack and thus to undercut the formulaic view of [End Page 81] the cinema as an ‘essentially visual’ medium which was ‘seen’ (not heard) by ‘spectators’ (not auditors).”2 By distinguishing dialogue, noise, and music—all auditory channels of information—as important pieces of film, Stam, Burgoyne, and Flitterman-Lewis support Metz’s assertion “that the cinema possesses various ‘dialects,’ and that each one of these ‘dialects’ can become the subject of a specific analysis.”3 Once audiences and critics consider music as one of the fundamental “dialects” of film, it then makes sense to understand music as an essential part of communication and argument in film.But is the film score more than just a reflection of a character’s sadness or the exciting chase music that exhilarates audiences? While most audiences would certainly be able to cite numerous instances of music reflecting the feelings of characters or the general mood of the film, some people might be surprised by the extent to which film music shapes and affects meaning in film. Stam, Burgoyne, and Flitterman-Lewis define several types of music that can be used in scores: redundant music, which reinforces the emotional tone; contrapuntal music, which runs counter to the dominant emotion; empathetic music, which conveys the emotions of the characters; a-empathetic music, which seems indifferent to the drama; and didactic contrapuntal music, which uses music to distance the audience “in order to elicit a precise, usually ironic, idea in the spectator’s mind.”4 Though these terms can be limiting because music often fulfills more than just one role in a scene, they do demonstrate that music is making an argument or working to convince or persuade the audience, proving that film music is behaving rhetorically. Though film music does often fulfill the basic roles of conveying emotion and suggesting connections or themes in the film, film music also works in more complex roles to affect the meaning in film. Through music’s development of specific leitmotifs, themes, and cues, the calculated use of film music in conjunction with the other channels of information helps to create the narrative and control the way... (shrink)

Learning to play a musical instrument involves mapping visual + auditory cues to motor movements and anticipating transitions. Inspired by the serial reaction time task and artificial grammar learning, we investigated explicit and implicit knowledge of statistical learning in a sensorimotor task. Using a between-subjects design with four groups, one group of participants were provided with visual cues and followed along by tapping the corresponding fingertip to their thumb, while using a computer glove. Another group additionally received accompanying (...) auditory tones; the final two groups received sensory cues but did not provide a motor response—all together following a 2 × 2 design. Implicit knowledge was measured by response time, whereas explicit knowledge was assessed using probe tests. Findings indicate that explicit knowledge was best with only the single modality, but implicit knowledge was best when all three modalities were involved. (shrink)

Hosmer's fourth edition of The Ethics of Management provides business students (future managers) with a very specific analytical process for understanding and resolving moral problems in management. A manager needs insight and understanding in a global economy to convince everyone involved, given his or her varied religious, cultural, economic and social backgrounds, to accept a proposed moral solution. Acceptance of managerial moral solutions, over time, brings trust, commitment and effort, and those three, also over time, are essential for organizational success.

There exists a vast literature on evidence‐based practice in education. The debate branches out in several directions, for example, what EBP entails for the nature of educational practice, what it entails for the teaching profession, what counts as use and abuse of evidence, and what educational research could or should contribute to a what works kind of practice. In this essay Tone Kvernbekk focuses on the fate of the concept of evidence in the debate, observing that the concept seems, (...) by and large, to be missing from the debate. She argues that educational debates about EBP stand to gain in nuance and depth from employing philosophical insights about evidence. Kvernbekk develops this claim by discussing different conceptions of evidence and by inquiring into three aspects of the evidentiary relation: the meaning of “based,” underdetermination, and the relativization of evidence. (shrink)

Cet ouvrage est une réédition numérique d’un livre paru au XXe siècle, désormais indisponible dans son format d’origine.

Matthew Tones examines the early ontological development of the tragic disposition in Nietzsche's analysis of the pre-Platonic Greeks and its influence on Nietzsche's quest to discover a future nobility. This book fuses the popular reading of Nietzsche as a naturalist with noble creative impulses to reveal further complexities in his mature work.

En el presente trabajo se asume la identidad de América Latina desde una categoría andina, a saber, Chakana , como elemento posibilitador de la integración del subcontinente. El estudio se realiza en el marco de la filosofía intercultural, específicamente desde el autor Josef Estermann, quien ha mostrado un profundo interés por la cuestión del diálogo intercultural entre Andes y Occidente . Interrogantes como: ¿responde el concepto y realidad de Chakana a la exigencia identitaria latinoamericana?, ¿cómo debe concebirse?, ¿puede la identidad (...) de Chakana favorecer al proyecto de integración de América Latina? son las principales preocupaciones de la presente labor. El autor termina señalando algunos elementos de reflexión-acción en torno a la exigencia identitaria-integracionista. (shrink)

‘The importance of being experienced’ plays a central part in the ethical philosophy of Aristotle. An experienced person is a person who has acquired a coping skill, an appropriate attitude and a sense of situation. According to Aristotle the soul and the body are interdependent, which indicates a close connection between human activity, human cognition and human character. By insisting on the primacy of action, Aristotle changes the educational focal point from an epistemological discussion of knowledge to an ethical discussion (...) of practice. The paper discusses what Aristotle can offer contemporary education in relation to his understanding of experience. The frame of the discussion is organised according to the three notable elements that are contained in Aristotle’s notion of ‘the importance of being experienced’: a practice, an appropriate hexis or character and a sense of the situation. As a background for and framing of the discussion, the paper will outline some of the many variants as well as substantial differences of the notion of experience and experience-based learning and categorise them in three different understandings. (shrink)

In _The Subject of Aesthetics_ Tone Roald develops a psychology of art based on people’s descriptions of their own engagement with visual art.

This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some (...) of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible. (shrink)

In this paper I shall examine Ralph Johnson’s concept of argumentation practice. He provides the following three desiderata for a critical practice: It is teleological, it is dialectical, and it is manifestly rational. I shall argue that Johnson’s preferred definition of practice – which is MacIntyre’s concept of practice as human activity with internal goods accessible through participation in that same activity – does not satisfy his desiderata.

ArgumentThis article adopts a historical perspective to examine the development of Laboratory Animal Science and Medicine, an auxiliary field which formed to facilitate the work of the biomedical sciences by systematically improving laboratory animal production, provision, and maintenance in the post Second World War period. We investigate how Laboratory Animal Science and Medicine co-developed at the local level (responding to national needs and concerns) yet was simultaneously transnational in orientation (responding to the scientific need that knowledge, practices, objects and animals (...) circulate freely). Adapting the work of Tsing (2004), we argue that national differences provided the creative “friction” that helped drive the formation of Laboratory Animal Science and Medicine as a transnational endeavor. Our analysis engages with the themes of this special issue by focusing on the development of Laboratory Animal Science and Medicine in Norway, which both informed wider transnational developments and was formed by them. We show that Laboratory Animal Science and Medicine can only be properly understood from a spatial perspective; whilst it developed and was structured through national “centers,” its orientation was transnational necessitating international networks through which knowledge, practice, technologies, and animals circulated. (shrink)

Introduction: Dignity is a core value in nursing. Nursing education shall prepare students for ethical professional practice and facilitate insight into the phenomenon of dignity and its significance. There is limited knowledge about how nursing students discover dignity in their education. Research aim: The aim of the study is to develop an understanding of how nursing students discover and acquire dignity. Research design: The study has a hermeneutic approach where qualitative interviews of nursing students were employed. The process of interpretation (...) was inspired by text of Fleming, Gaidys and Robbs. Participants and research context: Nineteen nursing students agreed to be included in the study, representing six different campuses at three different educational institutions. All were in the final year of their study. The interviews took place at the educational institutions. Ethical considerations: The educational institutions facilitated recruitment of the students who signed voluntarily for participation and continuous informed consent. The study was approved by The Norwegian Center of Reporting Data. The research recommendations of the Declaration of Helsinki were followed. Findings: The nursing students discovered the expression and significance of dignity through experiences, gained through introspection and in interaction with others during the education. Discussion: The findings are discussed using Gadamer’s concept of experience and how experiences can create new insight. In particular, the students’ experiences with the inner ethical and external aesthetic dimension of dignity are discussed. Conclusion: The study shows that students discovered the inner ethical dignity through experiencing vulnerability, pride and shame. They discovered the external aesthetic dignity through incidents, where they experienced both to be confirmed and not to be confirmed, and through observation of good or bad role models. Crucial negative and positive experiences are important for discovering the expression and significance of dignity. (shrink)

What is the core of pedagogical practice? Which qualities are primary to the student–teacher relationship? What is a suitable language for pedagogical practice? What might be the significance of an everyday presentational pedagogical act like for example the glance of a teacher? The pedagogical relation as lived relationality experientially sensed, as well as phenomenologically described and interpreted, precedes educational methods and theories and profoundly challenges educational practice and reflection. The paper highlights the aporetic character of pedagogical practice, reflection and research (...) by suggesting that the pedagogical relation opens up for a practice that is ethically and existentially normative rather than developmentally and socially normative, and thus fundamentally shifts the meaning of education. (shrink)

ABSTRACT The problem of persistence and emergence endowed with the limits of “actuality” is examined in the context of Nietzsche's appropriation of both Heraclitus and Boscovich to forge a natural philosophy of becoming. The physics of Boscovich allowed a systematic refurbishment of Heraclitean notions of becoming over being while Heraclitus's tensive dynamic of generation surpassed and overcame the limits of Anaximander's indeterminate. Nietzsche's early investigations bear overt signs of a formative philosophical outlook that seeks to marry the infinite and the (...) sensible in a fashion consistent with his mature concept of becoming. (shrink)

Emotions are essential for human existence, both lighting the way toward the brightest of achievements and setting the course into the darkness of suffering. Not surprisingly, then, emotion research is currently one of the hottest topics in the field of psychology. Yet to divine the nature of emotion is a complex and extensive task. In this book emotions are approached thought an exploration of the nature of cognition in emotion; the nature of thoughts in feelings. Different approaches to emotions are (...) explored, from brain research to research at the level of experience, and it is argued that all approaches must seriously take into account the experiential dimension. A qualitative study of experiences with art is therefore presented, as emotions and cognition are often expressed in experiences with art. It is the first study of its kind. Descriptions of various affective phenomena are then given which have significant implications for contemporary debates about emotions, resolving several contemporary controversies. ContentsAcknowledgementsIntroductionChapter 1: Describing EmotionChapter 2: Describing CognitionChapter 3: Theories about the Emotion-Cognition RelationshipChapter 4: Experiences with ArtChapter 5: A Phenomenological Study of Art AppreciationChapter 6: DiscussionBibliographyIndex. (shrink)

This article is a discussion of Ralph Johnson’s concept of practice of argumentation. Such practice is characterized by three properties: (1) It is teleological, (2) it is dialectical, and (3) it is manifestly rational. I argue that Johnson’s preferred definition of practice—which is Alasdair MacIntyre’s concept of practice as a human activity with internal goods accessible through partcipation in that same activity—does not fit these properties or features. I also suggest that this failure should not require Johnson to adjust the (...) properties to make them fit the practice concept. While MacIntyre’s concept of practice clearly has some attractive features, it does not provide what Johnson wants from a concept of practice. (shrink)

This important book explores the question of what an educational theory is and how educational theories can work. It offers a classification scheme of distinct types of educational theory and considers ways the nature of theories can inform the work of educational theorists and practitioners. Kvernbekk observes throughout how metatheoretical knowledge of the structure of theory types will improve understanding and representation of educational phenomena and enhance the ability to change these phenomena for the better. The author explores how the (...) philosophy of science can answer what a theory is and applies two influential but different theory conceptions to the field of education. It is argued that educational theories are representational devices that allow us to understand, describe and explain phenomena, and, when desired, to change them. The analysis offers a classification scheme that allows us to discriminate distinct types of educational theory: goal-directed, equivalence and interlevel theories. Examples of all three types are discussed, covering their structure, what they say about the phenomena and how they say it. The book also offers a critical overview of different conceptions of practice and different understandings of the theory-practice relationship. Encouraging a strong understanding of what theories say about the phenomena they represent, this book will be of interest to educational researchers and postgraduate students in the fields of philosophy of education, education theory and education policy. (shrink)

Starting from the practice of hermeneutic phenomenological writing as it has been advanced by van Manen, this paper addresses the understanding of an ‘experiential givenness’ of the world as basis for our ‘lived writing’; an understanding that is essential to the new phenomenological writer if s/he is to be part of the phenomenological writing process. As the ultimate givenness of the world is the basis of knowledge, we constantly strive to “reach out on life beyond itself” (Gadamer, 1960/1985, p. 62), (...) and thus need the right language to let the phenomenological text speak. The phenomenological writer’s understandings of the chiasm of world and self, the depth of phenomenological awareness, and the interlacement of ethic-aesthetical poetic writing, are qualities discussed as essential for the phenomenological writer to understand in a felt–sensed way in order to write a phenomenological text. A deconstructive approach to (pre)reflective phenomenological writing is put forth by provocatively asking what it means to be involved in, and profoundly enclosed with the “wordliness of the world” (Saevi, 2011a, p. 3). The radical hermeneutic phenomenological openness to what it means to be human and how to encounter the human givenness of phenomenological seeing and writing renders it possible for the writer’s personal voice to evolve. (shrink)

This article investigates the construction of laboratory animal science as a version of “good science.” In the 1950s, a transnational community of scientists initiated large-scale standardization of animals for biomedicine, which included the standardization of care of laboratory animals as well as the development of guidelines and regulations on laboratory animal use. The article traces these developments and investigates how the standardization work took part in enacting laboratory animals as compound objects of care—and laboratory animal science as being an intrinsically (...) ethical practice—as good science. Importantly, the analysis shows how technological development is inextricably accompanied by ethics, as it is the result of complex social organization involving multiple ethical commitments. By investigating the development of laboratory animal science historically, it is possible to tease out how values, norms, and standards have been made integral to specific practices in the first place and how they have developed and been sustained over time. The article contributes to current concerns in science and technology studies about how life is made, valued, and ordered at the intersection of science and society and in biomedicine, including how certain values and positions of valuation come to count as authoritative and others not. (shrink)

. Vindicating Archer’s concepts of educational systems – centralized and decentralized – as exemplars of critical realist theorizing. Journal of Critical Realism: Vol. 18, Sustainability, Interdisciplinarity and Transformative change: A Critical Realist Response to the Crisis System, pp. 453-473.