A century after the advent of quantum mechanics and general relativity, both theories enjoy incredible empirical success, constituting the cornerstones of modern physics. Yet, paradoxically, they suffer from deep-rooted, so-far intractable, conflicts. Motivations for violations of the notion of relativistic locality include the Bell’s inequalities for hidden variable theories, the cosmological horizon problem, and Lorentz-violating approaches to quantum geometrodynamics, such as Horava–Lifshitz gravity. Here, we explore a recent proposal for a “real ensemble” non-local description of quantum mechanics, in which “particles” (...) can copy each others’ observable values AND phases, independent of their spatial separation. We first specify the exact theory, ensuring that it is consistent and has quantum mechanics as a fixed point, where all particles with the same values for a given observable have the same phases. We then study the stability of this fixed point numerically, and analytically, for simple models. We provide evidence that most systems are locally stable to small deviations from quantum mechanics, and furthermore, the phase variance per value of the observable, as well as systematic deviations from quantum mechanics, decay as \ time)\, where \. Interestingly, this convergence is controlled by the absolute value of energy, suggesting a possible connection to gravitational physics. Finally, we discuss different issues related to this theory, as well as potential novel applications for the spectrum of primordial cosmological perturbations and the cosmological constant problem. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of the (...) values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

It is difficult to overstate music's persistent and uneasy relationship with homosexuality in Western society. Associated with femininity for centuries, particularly in North America, participation in music has been believed to emasculate and thus homosexualize men and boys. The linking of music to women and emotion (as opposed to men and reason) contributes to the conflation of misogyny and homophobia in North American society generally and music and music education particularly. One effect of music's conflicted relationship with and to homosexuality (...) for lesbians and gay men is to "disappear" them in both professions. As a function of disappeared positionalities, subject positions of homosexualities and potentialities of creating lives worth living are also disappeared. I explore ontological effects of disappeared in the world and music and music education, and reconceptualize "disappeared" in terms of Jacques Derrida's concept of "under erasure"—sous rature—in ways that may signal other ontological potentialities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

North American music education is a commodity sold to pre-service and in-service music teachers. Like all mass-produced consumables, it is valuable to the extent that it is not creative, that is, to the extent that it is reproducible. This is demonstrated in curricular materials, notably general music series textbook and music scores available from a rapidly shrinking cadre of publishers, as well as rigid and pre-determined pedagogical practices. Distributing resources and techniques that produce predicable, consistent, and repeatable goods and services, (...) the economy of music teacher preparation and development must necessarily exclude creativity, which consequently must be viewed as not only inefficient but unprofitable. More than undesirable, however, creativity is constructed as dangerous as it injects difference in a system that relies on sameness. Because of its implications for music education discourse and practices, I focus my discussion on research in general and feminist critique in particular in music education. Reading through Monique Wittig's ‘The Trojan Horse’ as literary war machine, I argue that creative writing and academic research are not mutually exclusive, and that it is only through infusing the literary or creative in scholarly writing that interlocking systems of oppression may be altered and difference implicated in music education. My analysis of Roberta Lamb's (1995) research piece, ‘Tone Deaf/Symphonies Singing: Sketches for a Musicale’ depicts it as Trojan Horse, albeit one that Lamb herself, most likely as a function of editorial imperative, hobbles. (shrink)

When women take up the work of music education, of the university, and become nomadic, engaging Deleuze and Guattari's war machine, all kinds of things happen. As nomads in music education, women traverse borders and boundaries that would otherwise limit and constrain them as they initiate alternative possibilities related to teaching and learning music. For women working at the university level, this is yearning, the necessity to engage in crucial, meaningful, intellectual work, to think and write work that stimulates and (...) inspires, as we are passionately and artistically engaged in everyday life. The nomadic war machine of women working in music education, embodied as yearning, looks for what more is there, what more in music education can be created and actualized. Conceiving music education as difference, in terms of its creative potential, women engage potentialities of experimentation, risk, and chance. (shrink)

It is shown that the 33 complex rays in three dimensions used by Penrose to prove the Bell-Kochen-Specker theorem have the same orthogonality relations as the 33 real rays of Peres, and therefore provide an isomorphic proof of the theorem. It is further shown that the Peres and Penrose rays are just two members of a continuous three-parameter family of unitarily inequivalent rays that prove the theorem.

A provocative account of pianist Glenn Gould's philosophy which argues that music is not only a reflection of social dynamics, but can also be a tool for a betterment of society.

A key question in disability studies, philosophy, and bioethics concerns the relationship between disability and well-being. The mere difference view, endorsed by Elizabeth Barnes, claims that physical and sensory disabilities by themselves do not make a person worse off overall—any negative impacts on welfare are due to social injustice. This article argues that Barnes’s Value Neutral Model does not extend to intellectual disability. Intellectual disability is (1) intrinsically bad—by itself it makes a person worse off, apart from a non-accommodating (...) environment; (2) universally bad—it lowers quality of life for every intellectually disabled person; and (3) globally bad—it reduces a person’s overall well-being. While people with intellectual disabilities are functionally disadvantaged, this does not imply that they are morally inferior—lower quality of life does not mean lesser moral status. No clinical implications concerning disability-based selective abortion, denial of life-saving treatment, or rationing of scarce resources follow from the claim that intellectual disability is bad difference. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “The Nomadic Turn: Epistemology, Experience, and Women College Band Directors”Stephen Franklin ZdzinskiI want to thank Elizabeth Gould for providing us with a thought-provoking paper examining the journeys of women university band directors through a post-modernist and feminist perspective. As a music education professor who deals with students from undergraduate through doctoral levels, I have the opportunity to provide professional guidance (...) to many students, both female and male. A number of my female instrumental music education students ask me about becoming high school and university band directors. I want to be honest with them about the realities of the profession, but I want also to encourage them to pursue their [End Page 195] professional dreams and goals despite any potential structural limitations. I found this paper to provide me with very good insights that I can use to advise my students.According to Gould, there are a number of factors that contribute to the under-representation of women in the field of college band directing. For example, we can see that historically the first band directors and instrumental music educators came either from military or professional performance backgrounds and as a result, most instrumental music teachers were initially male. In addition, early college band organizations, particularly marching musical organizations, were entirely male in composition. While these conditions have not continued to the present day, they set the stage for what was to follow.Socialization and Women University Band DirectorsThe different socialization of girls and boys may also be found to play a role in the under-representation of women as university band directors. A number of researchers have found gender differences in instrument selection,1 and other research points to additional familial socialization differences by gender.2According to Paul Woodford,3 the primary socialization of music education majors and the formation of a music teacher's identity occur during their own pre-collegiate schooling. Several researchers have suggested that precollegiate teaching experiences may be influential in decisions to choose music teaching as a career.4 Through countless hours of observation in their own programs, female and male students may be socialized to professional expectations of band directing before they ever enter a university-based instrumental music education program. Sylvia Tibbets, Winifred Shepard and David Hess, Stan Albrecht, Philip Griswold, and Denise Chroback all found that instrumental music teaching was viewed by both children and adults as a masculine profession.5 Woodford found that many of our current teacher education programs merely recreate existing practices, thus replicating inequitable situations in regards to opportunities for women in the profession of high school and college band directing.6After graduation, the outcome of a gender-influenced instrument choice may be inhibiting the career aspirations of future women band directors. Research by Barry Kopetz examined the influences of gender, school type, and instrument on instrumental music teacher selection by school principals.7 While significant gender differences in favor of males were found, they accounted for only 3% of the variance in teacher selection. Also important was the type of school being attended (performance versus music education institution), also accounting for 3% of the variance. Instrument, on the other hand, accounted for 10% of the variance in teacher selection, with teachers being selected in the following order: [End Page 196] trumpet, clarinet, oboe, and violin. If one examines the instruments commonly played by female instrumentalists, the research by Kopetz may suggest that gender discrimination in band hiring may in fact be exaggerated by playing the "wrong" instrument. If the student in addition comes from a performance-oriented school, that is considered by hiring officials as another negative factor that reduces their job possibilities.Structural Difficulties and Woman University Band DirectorsGould makes an interesting point when she states that while it is useful to know about the reasons for a lack of women in the band directing profession, this information by itself is not going to change things until we actually understand the structural underpinnings of the problem. The use of the metaphor of the nomad is helpful in attempting to explain the structural difficulties inherent in women becoming university band directors. In fact, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “Nomadic Turns:Epistemology, Experience, and Women University Band Directors” Epistemology, Experience, and Women University Band Directors”Julia Eklund KozaClimate and its impact on women in instrumental music education is a tremendously important subject, and I thank Liz Gould for her thoughtful analysis. Rather than offering a critique of her work, I will respond as one might answer in a call and response. (...) class='Hi'>Gould has sung a call that articulates a definition of feminism and invites us to explore climate in the professions, specifically in instrumental music education; I will answer in affirmation, confirmation, and extension. The nomadic metaphor, which is central to her paper, has been appropriated by a number of postmodern [End Page 187] theoreticians, including, among others, Baudrillard, Grisoni, Deleuze and Guattari, and of course, Braidotti.1 I have decided not to talk about this metaphor, however, principally because the complexities of any analysis of Western constructions of nomadism—constructions that are rife with exoticism, fascination, revulsion, and fear—are multiplied at this moment, as my country wages war against Iraq, a land of nomadic and semi-nomadic peoples, after having recently engaged in military action in Afghanistan, which is similarly home to nomads. An incisive discussion of postmodern use of nomadic metaphors appears in Caren Kaplan's book Questions of Travel, which I recommend to anyone interested in the subject.2My response has two goals: first, to forward another, not necessarily competing, postmodern understanding of feminism and power; and second, keeping this understanding in mind, to expand Gould's project of examining professional climate. According to my working postmodern definition, feminism is a constellation of dynamic political positions, which address and attempt to change the unequal power relations and material conditions that are produced and supported by a normative regulatory ideal called sex. In speaking of a constellation of political positions, I acknowledge the existence of a multiplicity of modern and post-modern feminisms, and by calling these positions dynamic I acknowledge their fluidity. In asserting that sex is a regulatory ideal, I rely on the work of feminist theorist Judith Butler, who posits that sex and sexual difference are discursively constructed; distinguishing herself from feminists who draw a distinction between gender, which is assumed to be socially constructed, and sex, which is theorized as a pre-social given or surface, Butler not only questions such a distinction by arguing that both sex and gender are culturally produced, but also theorizes about how materializations of bodies are accomplished. Drawing on the work of philosopher Michel Foucault, she maintains that sex is a regulatory norm, "part of a regulatory practice that produces the bodies it governs,"3 and she claims that this materialization is accomplished through a reiterative process called performativity. A performative, according to Butler, is a "discursive practice that enacts or produces that which it names."4 Butler claims that "the regulatory norms of 'sex' work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body's sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative."5 She provides an example of how this reiterative process works: when a particular child is born, the child is cited as a girl at birth and many times afterward; each citation helps to constitute that child as a girl and also to reinforce the discursive formation "girl."6 To summarize, Butler asserts that sex is "a cultural norm which governs the materialization of bodies,"7 and she posits that materiality is a productive effect of power.8She also theorizes that subject formation necessitates both an "identification with the normative phantasm of 'sex,'" and the creation of a zone of abjection.9 Bodies relegated to this abject zone, according to Butler, can be a valuable and "critical resource in the struggle to rearticulate the very terms of symbolic legitimacy and intelligibility."10 She maintains that disidentification can be a fruitful way to mobilize feminist and queer politics.11 Collective disidentifications, Butler states, can facilitate a "reconceptualization of which bodies matter," which bodies count.12 [End Page 188]Finally, my definition of feminism relies on several Foucauldian assumptions about... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “The Nomadic Turn: Epistemology, Experience, and Women College Band Directors”Stephen Franklin ZdzinskiI want to thank Elizabeth Gould for providing us with a thought-provoking paper examining the journeys of women university band directors through a post-modernist and feminist perspective. As a music education professor who deals with students from undergraduate through doctoral levels, I have the opportunity to provide professional guidance (...) to many students, both female and male. A number of my female instrumental music education students ask me about becoming high school and university band directors. I want to be honest with them about the realities of the profession, but I want also to encourage them to pursue their [End Page 195] professional dreams and goals despite any potential structural limitations. I found this paper to provide me with very good insights that I can use to advise my students.According to Gould, there are a number of factors that contribute to the under-representation of women in the field of college band directing. For example, we can see that historically the first band directors and instrumental music educators came either from military or professional performance backgrounds and as a result, most instrumental music teachers were initially male. In addition, early college band organizations, particularly marching musical organizations, were entirely male in composition. While these conditions have not continued to the present day, they set the stage for what was to follow.Socialization and Women University Band DirectorsThe different socialization of girls and boys may also be found to play a role in the under-representation of women as university band directors. A number of researchers have found gender differences in instrument selection,1 and other research points to additional familial socialization differences by gender.2According to Paul Woodford,3 the primary socialization of music education majors and the formation of a music teacher's identity occur during their own pre-collegiate schooling. Several researchers have suggested that precollegiate teaching experiences may be influential in decisions to choose music teaching as a career.4 Through countless hours of observation in their own programs, female and male students may be socialized to professional expectations of band directing before they ever enter a university-based instrumental music education program. Sylvia Tibbets, Winifred Shepard and David Hess, Stan Albrecht, Philip Griswold, and Denise Chroback all found that instrumental music teaching was viewed by both children and adults as a masculine profession.5 Woodford found that many of our current teacher education programs merely recreate existing practices, thus replicating inequitable situations in regards to opportunities for women in the profession of high school and college band directing.6After graduation, the outcome of a gender-influenced instrument choice may be inhibiting the career aspirations of future women band directors. Research by Barry Kopetz examined the influences of gender, school type, and instrument on instrumental music teacher selection by school principals.7 While significant gender differences in favor of males were found, they accounted for only 3% of the variance in teacher selection. Also important was the type of school being attended (performance versus music education institution), also accounting for 3% of the variance. Instrument, on the other hand, accounted for 10% of the variance in teacher selection, with teachers being selected in the following order: [End Page 196] trumpet, clarinet, oboe, and violin. If one examines the instruments commonly played by female instrumentalists, the research by Kopetz may suggest that gender discrimination in band hiring may in fact be exaggerated by playing the "wrong" instrument. If the student in addition comes from a performance-oriented school, that is considered by hiring officials as another negative factor that reduces their job possibilities.Structural Difficulties and Woman University Band DirectorsGould makes an interesting point when she states that while it is useful to know about the reasons for a lack of women in the band directing profession, this information by itself is not going to change things until we actually understand the structural underpinnings of the problem. The use of the metaphor of the nomad is helpful in attempting to explain the structural difficulties inherent in women becoming university band directors. In fact, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “The Nomadic Turn: Epistemology, Experience, and Women College Band Directors”Stephen Franklin ZdzinskiI want to thank Elizabeth Gould for providing us with a thought-provoking paper examining the journeys of women university band directors through a post-modernist and feminist perspective. As a music education professor who deals with students from undergraduate through doctoral levels, I have the opportunity to provide professional guidance (...) to many students, both female and male. A number of my female instrumental music education students ask me about becoming high school and university band directors. I want to be honest with them about the realities of the profession, but I want also to encourage them to pursue their [End Page 195] professional dreams and goals despite any potential structural limitations. I found this paper to provide me with very good insights that I can use to advise my students.According to Gould, there are a number of factors that contribute to the under-representation of women in the field of college band directing. For example, we can see that historically the first band directors and instrumental music educators came either from military or professional performance backgrounds and as a result, most instrumental music teachers were initially male. In addition, early college band organizations, particularly marching musical organizations, were entirely male in composition. While these conditions have not continued to the present day, they set the stage for what was to follow.Socialization and Women University Band DirectorsThe different socialization of girls and boys may also be found to play a role in the under-representation of women as university band directors. A number of researchers have found gender differences in instrument selection,1 and other research points to additional familial socialization differences by gender.2According to Paul Woodford,3 the primary socialization of music education majors and the formation of a music teacher's identity occur during their own pre-collegiate schooling. Several researchers have suggested that precollegiate teaching experiences may be influential in decisions to choose music teaching as a career.4 Through countless hours of observation in their own programs, female and male students may be socialized to professional expectations of band directing before they ever enter a university-based instrumental music education program. Sylvia Tibbets, Winifred Shepard and David Hess, Stan Albrecht, Philip Griswold, and Denise Chroback all found that instrumental music teaching was viewed by both children and adults as a masculine profession.5 Woodford found that many of our current teacher education programs merely recreate existing practices, thus replicating inequitable situations in regards to opportunities for women in the profession of high school and college band directing.6After graduation, the outcome of a gender-influenced instrument choice may be inhibiting the career aspirations of future women band directors. Research by Barry Kopetz examined the influences of gender, school type, and instrument on instrumental music teacher selection by school principals.7 While significant gender differences in favor of males were found, they accounted for only 3% of the variance in teacher selection. Also important was the type of school being attended (performance versus music education institution), also accounting for 3% of the variance. Instrument, on the other hand, accounted for 10% of the variance in teacher selection, with teachers being selected in the following order: [End Page 196] trumpet, clarinet, oboe, and violin. If one examines the instruments commonly played by female instrumentalists, the research by Kopetz may suggest that gender discrimination in band hiring may in fact be exaggerated by playing the "wrong" instrument. If the student in addition comes from a performance-oriented school, that is considered by hiring officials as another negative factor that reduces their job possibilities.Structural Difficulties and Woman University Band DirectorsGould makes an interesting point when she states that while it is useful to know about the reasons for a lack of women in the band directing profession, this information by itself is not going to change things until we actually understand the structural underpinnings of the problem. The use of the metaphor of the nomad is helpful in attempting to explain the structural difficulties inherent in women becoming university band directors. In fact, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “Nomadic Turns:Epistemology, Experience, and Women University Band Directors” Epistemology, Experience, and Women University Band Directors”Julia Eklund KozaClimate and its impact on women in instrumental music education is a tremendously important subject, and I thank Liz Gould for her thoughtful analysis. Rather than offering a critique of her work, I will respond as one might answer in a call and response. (...) class='Hi'>Gould has sung a call that articulates a definition of feminism and invites us to explore climate in the professions, specifically in instrumental music education; I will answer in affirmation, confirmation, and extension. The nomadic metaphor, which is central to her paper, has been appropriated by a number of postmodern [End Page 187] theoreticians, including, among others, Baudrillard, Grisoni, Deleuze and Guattari, and of course, Braidotti.1 I have decided not to talk about this metaphor, however, principally because the complexities of any analysis of Western constructions of nomadism—constructions that are rife with exoticism, fascination, revulsion, and fear—are multiplied at this moment, as my country wages war against Iraq, a land of nomadic and semi-nomadic peoples, after having recently engaged in military action in Afghanistan, which is similarly home to nomads. An incisive discussion of postmodern use of nomadic metaphors appears in Caren Kaplan's book Questions of Travel, which I recommend to anyone interested in the subject.2My response has two goals: first, to forward another, not necessarily competing, postmodern understanding of feminism and power; and second, keeping this understanding in mind, to expand Gould's project of examining professional climate. According to my working postmodern definition, feminism is a constellation of dynamic political positions, which address and attempt to change the unequal power relations and material conditions that are produced and supported by a normative regulatory ideal called sex. In speaking of a constellation of political positions, I acknowledge the existence of a multiplicity of modern and post-modern feminisms, and by calling these positions dynamic I acknowledge their fluidity. In asserting that sex is a regulatory ideal, I rely on the work of feminist theorist Judith Butler, who posits that sex and sexual difference are discursively constructed; distinguishing herself from feminists who draw a distinction between gender, which is assumed to be socially constructed, and sex, which is theorized as a pre-social given or surface, Butler not only questions such a distinction by arguing that both sex and gender are culturally produced, but also theorizes about how materializations of bodies are accomplished. Drawing on the work of philosopher Michel Foucault, she maintains that sex is a regulatory norm, "part of a regulatory practice that produces the bodies it governs,"3 and she claims that this materialization is accomplished through a reiterative process called performativity. A performative, according to Butler, is a "discursive practice that enacts or produces that which it names."4 Butler claims that "the regulatory norms of 'sex' work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body's sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative."5 She provides an example of how this reiterative process works: when a particular child is born, the child is cited as a girl at birth and many times afterward; each citation helps to constitute that child as a girl and also to reinforce the discursive formation "girl."6 To summarize, Butler asserts that sex is "a cultural norm which governs the materialization of bodies,"7 and she posits that materiality is a productive effect of power.8She also theorizes that subject formation necessitates both an "identification with the normative phantasm of 'sex,'" and the creation of a zone of abjection.9 Bodies relegated to this abject zone, according to Butler, can be a valuable and "critical resource in the struggle to rearticulate the very terms of symbolic legitimacy and intelligibility."10 She maintains that disidentification can be a fruitful way to mobilize feminist and queer politics.11 Collective disidentifications, Butler states, can facilitate a "reconceptualization of which bodies matter," which bodies count.12 [End Page 188]Finally, my definition of feminism relies on several Foucauldian assumptions about... (shrink)

What is the proper role of politics in higher education? Many policies and reforms in the academy, from affirmative action and a multicultural curriculum to racial and sexual harassment codes and movements to change pedagogical styles, seek justice for oppressed groups in society. They understand justice to require a comprehensive equality of membership: individuals belonging to different groups should have equal access to educational opportunities; their interests and cultures should be taken equally seriously as worthy subjects of study, their persons (...) treated with equal respect and concern in communicative interaction. Conservative critics of these egalitarian movements represent them as dangerous political meddling into the disinterested pursuit of knowledge. They cast the pursuit of equality as a threat to freedom of speech and academic standards. In response, some radical advocates of such programs agree that the quest for equality clashes with free speech, but view this as an argument for sacrificing freedom of speech. (shrink)

Research on human infants has begun to shed light on early-developing processes for segmenting perceptual arrays into objects. Infants appear to perceive objects by analyzing three-dimensional surface arrangements and motions. Their perception does not accord with a general tendency to maximize figural goodness or to attend to nonaccidental geometric relations in visual arrays. Object perception does accord with principles governing the motions of material bodies: Infants divide perceptual arrays into units that move as connected wholes, that move separately from one (...) another, that tend to maintain their size and shape over motion, and that tend to act upon each other only on contact. These findings suggest that o general representation of object unity and boundaries is interposed between representations of surfaces and representations of objects of familiar kinds. The processes that construct this representation may be related to processes of physical reasoning. (shrink)

Despite increasing interest in the figure of Socrates and in love in ancient Greece, no recent monograph studies these topics in all four of Plato's dialogues on love and friendship. This book provides important new insights into these subjects by examining Plato's characterization of Socrates in Symposium, Phaedrus, Lysis and the often neglected Alcibiades I. It focuses on the specific ways in which the philosopher searches for wisdom together with his young interlocutors, using an art that is 'erotic', not in (...) a narrowly sexual sense, but because it shares characteristics attributed to the daimon Eros in Symposium. In all four dialogues, Socrates' art enables him, like Eros, to search for the beauty and wisdom he recognizes that he lacks and to help others seek these same objects of erôs. Belfiore examines the dialogues as both philosophical and dramatic works, and considers many connections with Greek culture, including poetry and theater. (shrink)

Experiments with young infants provide evidence for early-developing capacities to represent physical objects and to reason about object motion. Early physical reasoning accords with 2 constraints at the center of mature physical conceptions: continuity and solidity. It fails to accord with 2 constraints that may be peripheral to mature conceptions: gravity and inertia. These experiments suggest that cognition develops concurrently with perception and action and that development leads to the enrichment of conceptions around an unchanging core. The experiments challenge claims (...) that cognition develops on a foundation of perceptual or motor experience, that initial conceptions are inappropriate to the world, and that initial conceptions are abandoned or radically.. (shrink)

A new method was devised to test object permanence in young infants. Fivemonth-old infants were habituated to a screen that moved back and forth through a 180-degree arc, in the manner of a drawbridge. After infants reached habituation, a box was centered behind the screen. Infants were shown two test events: a possible event and an impossible event. In the possible event, the screen stopped when it reached the occluded box; in the impossible event, the screen moved through the space (...) occupied by the box. The results indicated that infants looked reliably longer at the impossible than at the possible event. This hnding suggested that infants (1) understood that the box continued to exist, in its same location, after it was occluded by the screen, and (2) expected the screen to stop against the occluded box and were surprised, or puzzled, when it failed to do so. A control experiment in which the box was placed next to the screen provided support for this interpretation of the results. Together, the results of these experiments indicate that, contrary to Piaget’s (1954) claims, infants as young as 5 months of age understand that objects continue to exist when occluded. The results, also indicate that 5-month-old infants realize that solid objects do not move through the space occupied by other solid objects. (shrink)

A series of experiments investigated the effect of speakers’ language, accent, and race on children’s social preferences. When presented with photographs and voice recordings of novel children, 5-year-old children chose to be friends with native speakers of their native language rather than foreign-language or foreign-accented speakers. These preferences were not exclusively due to the intelligibility of the speech, as children found the accented speech to be comprehensible, and did not make social distinctions between foreign-accented and foreign-language speakers. Finally, children chose (...) same-race children as friends when the target children were silent, but they chose other-race children with a native accent when accent was pitted against race. A control experiment provided evidence that children’s privileging of accent over race was not due to the relative familiarity of each dimension. The results, discussed in an evolutionary framework, suggest that children preferentially evaluate others along dimensions that distinguished social groups in prehistoric human societies. (shrink)

Astonishment that the things we are experiencing are "still" possible in the twentieth century is not philosophical. It is not the beginning of any insight, unless it is that the idea of history from which it comes is untenable.And so tyranny naturally arises out of democracy, and the most aggravated form of tyranny and slavery out of the most extreme form of liberty?In 1940 the exiled German critic and philosopher Walter Benjamin warned that fidelity to a vision of history as (...) progress risked normalizing the remy-thologization of politics.1 Recent events have underlined the urgency, both for thought and for action, of rejecting the same unphilosophical astonishment in our own time. In the face of political... (shrink)

Complex cognitive skills such as reading and calculation and complex cognitive achievements such as formal science and mathematics may depend on a set of building block systems that emerge early in human ontogeny and phylogeny. These core knowledge systems show characteristic limits of domain and task specificity: Each serves to represent a particular class of entities for a particular set of purposes. By combining representations from these systems, however human cognition may achieve extraordinary flexibility. Studies of cognition in human infants (...) and in nonhuman primates therefore may contribute to understanding unique features of human knowledge. 2020 APA, all rights reserved). (shrink)

Of other ancient writers, call into question the traditional view that katharsis in the Poetics is a homeopathic process - one in which pity and fear affect emotions like themselves. She maintains, instead, that Aristotle considered katharsis to be an allopathic process in which pity and fear purge the soul of shameless, antisocial, and aggressive emotions. While exploring katharsis, Tragic Pleasures analyzes the closely related question of how the Poetics treats the.

What leads humans to divide the social world into groups, preferring their own group and disfavoring others? Experiments with infants and young children suggest these tendencies are based on predispo- sitions that emerge early in life and depend, in part, on natural language. Young infants prefer to look at a person who previously spoke their native language. Older infants preferentially accept toys from native-language speakers, and preschool children preferentially select native-language speakers as friends. Variations in accent are sufficient to evoke (...) these social preferences, which are observed in infants before they produce or comprehend speech and are exhibited by children even when they comprehend the foreign-accented speech. Early-developing preferences for native-language speakers may serve as a foundation for later-developing preferences and conflicts among social groups. (shrink)

This article considers 3 claims that cognitive sex differ- ences account for the differential representation of men and women in high-level careers in mathematics and sci- ence: (a) males are more focused on objects from the beginning of life and therefore are predisposed to better learning about mechanical systems; (b) males have a pro- file of spatial and numerical abilities producing greater aptitude for mathematics; and (c) males are more variable in their cognitive abilities and therefore predominate at the upper (...) reaches of mathematical talent. Research on cogni- tive development in human infants, preschool children, and students at all levels fails to support these claims. Instead, it provides evidence that mathematical and scientific rea- soning develop from a set of biologically based cognitive capacities that males and females share. These capacities lead men and women to develop equal talent for mathe- matics and science. (shrink)

John Stuart Mill's Utilitarianism continues to serve as a rich source of moral and theoretical insight. This collection of articles by top scholars offers fresh interpretations of Mill's ideas about happiness, moral obligation, justice, and rights. Applying contemporary philosophical insights, the articles challenge the conventional readings of Mill, and, in the process, contribute to a deeper understanding of utilitarian theory as well as the complexity of moral life.

Because human languages vary in sound and meaning, children must learn which distinctions their language uses. For speech perception, this learning is selective: initially infants are sensitive to most acoustic distinctions used in any language1–3, and this sensitivity reflects basic properties of the auditory system rather than mechanisms specific to language4–7; however, infants’ sensitivity to non-native sound distinctions declines over the course of the first year8. Here we ask whether a similar process governs learning of word meanings. We investigated the (...) sensitivity of 5-month-old infants in an English-speaking environment to a conceptual distinction that is marked in Korean but not English; that is, the distinction between ‘tight’ and ‘loose’ fit of one object to another9,10. Like adult Korean speakers but unlike adult English speakers, these infants detected this distinction and divided a continuum of motion-into-contact actions into tightand loose-fit categories. Infants’ sensitivity to this distinction is linked to representations of object mechanics11that are shared by non-human animals12–14. Language learning therefore seems to develop by linking linguistic forms to universal, pre-existing representations of sound and meaning. Our research focuses on the crosscutting conceptual distinctions between actions producing loose- and tight-fitting contact relationships (compare left and right columns in Fig. 1a) and actions producing containment versus support relationships (compare first and second rows in Fig. 1a). As early as Korean and English children begin to talk about such actions, they categorize them differently from one another and similarly to Korean- and Englishspeaking adults9,15. Moreover, English and Korean adults differ in their performance on non-linguistic categorization tasks involving heterogeneous examples of these actions, in accord with the differing semantics of their languages16,17, whereas the performance of young children on such tasks has been mixed9,10,18,19.. (shrink)

in a recent article entitled “Hume on the Passions,” Stephen Buckle opens with the claim that Hume’s theory of the passions has largely been neglected. “Apart from a couple of famous sections in the Treatise concerning the sources of action,” he writes, “the subject matter has rarely excited interest.”1 His analysis of why the subject of the passions in Hume has been uninspiring points to the fact that readers have largely misunderstood the point of Hume’s theory. They usually regard the (...) account as yet another mechanistic analysis of the passions in the vein of seventeenth-century science, alongside the offerings of Malebranche, Hobbes, and Spinoza. Buckle is right to point out that there is a.. (shrink)

Most naturalists think that the belief/desire model from Hume is the best framework for making sense of motivation. As Smith has argued, given that the cognitive state (belief) and the conative state (desire) are separate on this model, if a moral judgment is cognitive, it could not also be motivating by itself. So, it looks as though Hume and Humeans cannot hold that moral judgments are states of belief (moral cognitivism) and internally motivating (moral internalism). My chief claim is that (...) the details of Hume’s naturalistic philosophy of mind actually allow for a conjunction of these allegedly incompatible views. This thesis is significant, since readers typically have thought that Hume’s view that motivation is not produced by representations, coupled with his view that moral judgments motivate on their own, imply that moral judgments could never take the form of beliefs about, or representations of, the moral (virtue and vice). (shrink)

Four-month-old infants can perceive bimodally speciiied events. They respond to relationships between the optic and acoustic stimulation that carries information about an object. Infants can do this by detecting the temporal synchrony of an object’s sounds and its optically specified impacts. They are sensitive both to the common tempo and to the simultaneity of such sounds and visible impacts. These findings support the view that intermodal perception depends at least in part on the detection of invariant relationships in patterns of (...) light and sound. (shrink)

Concerns about children's ability to fully comprehend and evaluate advertising messages has stimulated substantial research and heated debate among scholars, business leaders, consumer advocates, and public policy makers for more than three decades. During that time, some very fundamental questions about the fairness of marketing to children have been raised, yet many remain unresolved today. With the emergence of increasingly sophisticated advertising media, promotional offers and creative appeals in recent years, new issues have also developed. This paper provides a basis (...) for further examination of some the key questions in this area, and suggests how children's advertising research can be employed to illuminate them. (shrink)

Animal rights campaigners and scientists working with animals completed anonymous questionnaires in which they were asked to report, not only on their own beliefs and ideas about the animal experimentation debate, but also on those they perceived the opposing group to hold. Both groups of participants tended to have a negative and somewhat extreme view of the other. But they did have an accurate grasp of the arguments and defenses commonly offered on both sides of the debate, and showed some (...) agreement concerning the relative capacity of different animals to suffer. Differences appeared in the level of the phylogenetic hierarchy at which participants thought animals might be capable of suffering, and in their decision-making processes regarding the admissibility of animal experiments. (shrink)