Evidence from our research on young children's temporal understanding supports Hoerl & McCormack's view that young children rely on a temporal updating system to change representations over time. We propose that the shift from temporal updating to temporal reasoning is enabled by children's expanding representations of event sequences, along with developments in language, memory, and other cognitive competencies.

Carnal Knowledge is an outcome of the renewed energy and interest in moving beyond the discursive construction of reality to understand the relationship between what is conceived of as reality and materiality, described as the "material turn." It draws together established and emerging writers, whose research spans dance, music, film, fashion, design, photography, literature, painting and stereo-immersive VR, to demonstrate how art allows us to map the complex relations between nature and culture, between the body, language and knowledge. These writings (...) are unique in the field because they represent the authors' commitment to a new materialism through the creative arts. The questions they address include: Does the material turn in the creative arts take a different turn from continental epistemology, philosophy and the humanities? How does the agency of matter, the material nature of artistic practice and the notion of "truth to materials" affect what we understand as the "new materialism?" In engaging with these questions the book offers perspectives on the emergence of this exciting fresh field of new materialism. (shrink)

Presenting the challenges that face digital age citizens as philosophical, as opposed to technological, this paper explores the underpinning structure of digital civics through an overview of its four foundational pillars and their informing scholarship. Through this framework and the literature that supports it, a set of five key concepts are identified as a useful guide for developing digital civics initiatives, including policy and educational interventions. In closing, this work urges the further exploration of the conceptual underpinnings of digital civics (...) to improve future formulations of digital civics and digital citizenship endeavours. (shrink)

For Kristeva, in a world immersed in readymade images, art or aesthetic experience is a practice that constitutes both a subject & an object that is able to transform meaning & consciousness. This book examines key ideas in her work to show how they are most relevant to artists, & how they can be applied in interpreting artworks.

This commentary response presents two concepts that may address legal-political issues arising in the civics pillar of digital civics: the history of data and nomos. It suggests that we can draw from the history of data to supplement our understanding of datafication and formulate responses to surveillance capitalism. It then forwards the utility of the ancient concept of nomos as a means of approaching cultural and jurisdictional challenges arising in the infosphere.

In lieu of an abstract, here is a brief excerpt of the content:104 Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. Estelle Carol The Chicago Women’s Graphics Collective: A Memoir In 1973, the Chicago Women’s Graphics Collective worked in an old run-down second-floor office on Belmont Avenue, which we shared with the main offices of the Chicago Women’s Liberation Union (CWLU).1 They call it New Town now, but in 1973, there wasn’t much new about it. We (...) weren’t the only artists in the building though; downstairs was a tattoo parlor. Still, it was better than having the studio located in my apartment on Newport Street, where there were silkscreen tables in the dining room and a bathroom that doubled as a darkroom. My bedroom door opened directly into the dining room and usually reeked of the foul chemicals we used to make the posters. Just one OSHA inspection would have shut us down forever, but it was not until later that we learned about the dangers of long-term exposure. On Newport Street, the apartment was right next to the Ravenswood Branch of the “L,” and it shook like the aftershock of a California earthquake each time a train passed. But we were in the midst of a women’s revolution, and our priorities were clear. 1. The Chicago Women’s Graphics Collective (WGC) was a “workgroup” of the CWLU from the very start. There were about 25 workgroups and other groups within the CWLU. CWLU outreach to recruit new members got a lot of new women into WGC. WGC, Women’s Liberation Rock Band, and Womankind Newspaper were the cultural arms of the CWLU. Cultural outreach to attract new CWLU members and new feminists to the movement in general was critical to the CWLU’s success. In Celebration of Amazons, 194. All posters designed and silkscreened collectively by the Chicago Women’s Liberation Union, www.cwluherstory.org. Courtesy of CWLU Herstory Project. All posters are on silkscreen. Turning Through Time, Workwoven, 195. Sisterhood Is Blooming, Springtime Will Never Be the Same, 190. Chicago Women’s Labor History, 194. International Women’s Day (reprinted from a Cuban poster). ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. OPPOSITE Chicago Maternity Center, 192. ABOVE Lesbian Pride, 192. Mountain-Moving Day, 192. ABOVE Detail from Mountain-Moving Day, 192. OPPOSITE Women Unite, Take Back the Night, 199. Lipstick and Blood (reprinted from a Cuban design). Women Are Not Chicks, 191. Liberation School for Women, 192. Boycott Red Coach Lettuce, 192. Working Women Unite, 195. International Women’s Day, Many Waves But One Ocean, 192. Estelle Carol 121 If you look at Chicago Women’s Graphics Collective posters, you’ll rarely see a person’s name on them, because we decided early on that art had been done all wrong by men. It was based on egotism and the cult of the individual—the great-men-of-art syndrome. So we decided to throw all that out, and art now had to be a collective experience. So every poster that we created had to be done by committee. Every one. We had a system in which any one of the collective could get an idea or a phrase or an image and decide to do a poster. They would ask two or three other members to be their assistants and to help develop the idea. And then in little teams they would physically create the poster in silk screen. It had to be a collective process. There’s no way that one single woman could really do it because we were using very primitive reproduction methods, and we needed at least three people to run the silk screen. The silk screens were all hand printed. No machines. If a poster was more than one color, it had to be hand printed, one color at a time, so it was very, very labor intensive. And... (shrink)

With the COVID-19 pandemic, governments implemented successive lockdowns that forced employees to work from home to contain the spread of the coronavirus. This crisis raises the question of the effects of mandatory work from home on employees’ well-being and performance, and whether these effects are the same for all employees. In the present study, we examined whether working at home may be related to intensity, familiarity with WFH, employees’ well-being and creativity. We also examined whether the psychological profile of employees, (...) combining preference for solitude and associated personality variables from the Big Five, may influence the effects of WFH. The data were collected via an online survey from November 13th to December 15th 2020 among 946 employees from various organizations during the second lockdown in France. In addition to identifying two distinctive psychological profiles for employees having to WFH, results revealed that those with a “Solitary” profile reported higher loneliness at work, higher levels of stress, and lower levels of job satisfaction and work engagement than those with an “Affiliative” profile. It was also found that employees with a “Solitary” profile perceived themselves as less creative and produced objectively fewer ideas than individuals with an “Affiliative” profile. The present study suggests the necessity to distinguish the profiles of teleworkers and to offer a stronger support for the less affiliative employees when working from home. (shrink)

L’article propose une étude lexico-syntaxique de la polysémie du nom truc en français, qui connaît cinq types d’emplois différents, dont certains le rapprochent de noms sous-spécifiés et/ou de noms généraux. L’analyse s’appuie sur un vaste corpus de données attestées et sur une batterie de patrons syntaxiques permettant à la fois de départager et de caractériser les différentes acceptions du nom truc. Il est ainsi montré que chaque type d’emploi de ce nom en tant que Nss se caractérise par une construction (...) privilégiée, tout en en admettant une ou plusieurs autres. Il s’avère en effet que chacun des sens du substantif truc peut être défini par une conjonction de propriétés discriminantes de nature syntaxique et sémantique. (shrink)

In Switzerland, people can be granted access to assisted suicide on condition that the person whose wish is to die performs the fatal act, that he has his decisional capacity and that the assisting person...

Vulnerability is a concept with fleeting contours as much it is an idea with assured academic success. In the United States, torturable, "mutilatable," and killable bodies are a wide topic of discussion, especially after September 11 and the ensuing bellicosity. In Europe, current reflection on vulnerability has emerged from a thematic of precarity and exclusion; the term evokes lives that are dispensable, evictable, deportable, and the abandoning of individuals to naked forces of the market. But if the theme has had (...) notable fortune, it also continues to come up against considerable reluctance. The political scope of vulnerability is often denied: it seems inevitably to be relegated to the sphere of "good sentiments." This book aims to address this criticism. It shows that by questioning our hegemonic anthropology, by reinventing the categories of freedom, equality, and being-in-common based on the body, by overthrowing the legitimate grammar of political discourse, and by redefining the political subject – the category of vulnerability, far from being conservative or a-political, works to undo the world such as it is. This book was originally published as a special issue of _Critical Horizons. _. (shrink)

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

Digitization technologies applied to historical newspapers have changed the research landscape historians were used to. An Eldorado? Despite unquestionable merits, the new digital affordance of historical newspapers also brings drawbacks and possibl.

As the media wrestle with ethical and legal problems in coverage of AIDS stories, such as privacy, terminology, and disclosure, a question is raised about the educational role the media will assume in the face of this health threat. Despite health department hopes for candor in dealing with the threat, blunt?language ads and commercials have been rejected by most New York City media and legislation may restrict the extent to which media deal with the question. Though the media alone cannot (...) bear the burden of AIDS education, they must provide point?man services. (shrink)

Byrne & Russon argue that the action and program levels of imitation form two discrete categories, with no intermediate steps. A Piagetian view enlarges our understanding of human and ape imitation by showing the developmental paths that imitation takes in the sensory-motor period of intelligence. It is clear from Piaget's (1945/1962) analysis that the action level of imitation is richly varied and that intermediate steps do occur between the action and program levels.

Two common themes emerge in our writings over the past several decades. Estelle Jorgensen has focused partially and significantly on models and metaphors that undergird music education.1 Iris Yob has examined the role of higher education generally and music education specifically in creating positive social change.2 At times, and against the backdrop of recent writing on music education, social change, and social justice,3 we each have explored topics in the other's area of interest.4 Neither of us, however, has systematically (...) brought together the two themes: building practices on grounding metaphors for developing music education as a means for promoting the common good. In this paper, our conversation explores... (shrink)

In the current world of education, politics and public opinion, musical experience is increasingly threatened. It is designated ever more as an expendable luxury. This kind of general trend has hardly left the thinking in the field of music and music education untouched. Inspiration comes from the technical rationality of our time. This rationality affects an oblivion of ontology. In this article we discuss this trend related to Martin Heidegger’s thinking concerning the human existence in the world, artworks and notions (...) like “being” (Sein) and “oblivion-of-being” (Seinsvergessenheit). We think that it is possible to see this “oblivion-of-being” in relation to the trend in cultural and educational politics as well as in music educational thinking to focus on the instrumental usefulness of learning music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Estelle R. JorgensenSusan Laird’s lament of her “musical under-education,” her youthful lack of opportunity for the sorts of experiences for which she hungered and its life-long after-effects, and her invocation of hunger as a metaphor for music education raise compelling questions. In a feminized field such as music, particularly piano playing, her hunger is particularly poignant. Also, (...) the notion of “musical taste” takes on new meaning, and the musical, educational, and ethical questions this metaphor evokes reveal its richness as a means of thinking about music education. This metaphor joins others such as Barbara Thayer Bacon’s metaphor of the quilt, Jane Roland Martin’s metaphor of the home, Iris Yob’s metaphor of pilgrimage, Elizabeth Gould’s metaphor of the nomad, Virginia Richardson’s metaphor of the steward, and Randall Allsup’s metaphor of the garage band, each of which illumines music education differently.1 Without one, we miss important insights into the thought and practice of music education; when taken together, they offer a richer view than were we to see music education in terms of one alone. [End Page 75]Although metaphor evokes imaginative thought and practice in music education, it is also limited. As Nelson Goodman aptly puts it, metaphor is a “matter of teaching an old word new tricks” and an “expedition abroad in which associations with one realm are applied in another.”2 Its power lies in its evocative and imaginative quality as it startles and surprises, challenges familiar ways of thinking and doing, and opens new possibilities for how we might think, act, and be differently. Although Laird would not want to literalize musical hunger or equate it with physical hunger—physical and spiritual realms intersect but they are not equivalent—it is possible to freeze a metaphor or literalize the vitality out of it. Testing it systematically, we enter the ground between metaphor and model, or what Iris Yob thinks of as the metaphorical model.3 While metaphor may prompt an intellectual journey, it cannot take us the entire way. In its particularistic and imaginative appeal, it opens reflection though it cannot suffice. A metaphor may also have a dark side. For example, envisaging the teacher’s role as salvific in providing bread for the hungry or preventing gluttony or food addictions may foster a paternalistic view that substitutes the teacher’s view of a student’s long term interests for the student’s directly-known and immediately perceived needs and interests, thereby subverting Laird’s expressed interest in the student’s desires. The educational “sin” of addiction may also be “redeemed” in Schefflerian fashion by pointing to important contributions of musicians who were doubtless excessive in their musical engagements.4 These possibilities suggest that we shall need to examine critically the metaphor and what it means for music education and move beyond the metaphor to its related models of music education.One of the interesting questions that Laird’s metaphor of hunger raises is the possibility of spiritual hunger, especially in a pervasively materialistic world. Matters related to spirituality have been addressed variously by writers in music education, whether it be the “healing” and ecologically-oriented approach of June Boyce-Tillman, the evolutionary and anthropologically grounded holistic approach of Anthony Palmer, the ethically-based approach of David Carr, the introspective and politically-charged writing of Cathy Benedict and Randall Allsup, the feminist perspectives of Elizabeth Gould, Charlene Morton, Roberta Lamb, and Deanne Bogdan, or the religiously grounded work of Iris Yob.5 Notions of spiritual hunger might be seen differently within the various lenses that these writers bring to music education but they all underscore the importance of knowing that goes beyond the literal, utilitarian, generalizable, and vocational to address the life of mind and body that Susanne Langer terms “feeling” and with which the arts, myths, rituals, and religions have to do.6 As such, they rebuke general education that is limited to reading, writing, and arithmetic, and driven by tests, standards, and mandates that often give short shrift to matters of human spirituality. Still, as the recent unanimous resolution in favor of... (shrink)

Gilles Deleuze and Felix Guattari’s work has been mined by writers about music and music education such as Ian Buchanan, Marcel Swiboda, Marianne Kielian-Gilbert, and Elizabeth Gould, as they have reflected on how music and music education should be construed. 1 Our present task is to examine critically Deleuze and Guattari’s ideas in our reading of their book A Thousand Plateaus: Capitalism and Schizophrenia, with a view to determining the merits of their ideas as a basis for a philosophy of (...) music education. 2 As such, we ask three principal questions: What are Deleuze and Guattari asking us to believe? What is our assessment of their contributions and detractions? What are the implications of our analysis for.. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 1-20 MuseSearchJournalsThis JournalContents[Access article in PDF]"This-with-That": A Dialectical Approach to Teaching for Musical ImaginationEstelle R. JorgensenAmong the various approaches to music education, my dialectical and epistemological view offers a way of thinking about music and education and deciding how to go forward in teaching and learning music. 1 In this article I show how this particular philosophical perspective can play out in (...) teaching for the development of musical imagination in a particular musical piece, in particular, Johannes Brahms's Intermezzo, op. 118, no. 2. Three questions lie at the center of this analysis: What is meant by my dialectical approach? 2 How is musical imagination implicated, for example, in a performer's reading of this Intermezzo? How ought one to teach for the development of musical imagination?My response to the first of this trio of questions is predicated on my previous writing, most recently in Transforming Music Education and an essay, "Four Philosophical Models of the Relationship of Theory and Practice." 3 My response to the second applies Mary Reichling's model of images of imagination to a reflection on my approach to this Brahms Intermezzo—a piece I have played over a musical lifetime—with reference to a few of its more obvious features. 4 And my response to the third builds on my extension of Vernon Howard's analysis of learning in Transforming Music Education by drawing on Alfred North Whitehead's elegant model of teaching and learning formulated almost a century ago in his The Aims of Education and Other Essays, again with reference to the self-same piece. 5 In addressing these questions, I show how my dialectical approach can work practically and how the various tensions between aspects of imagination can play out in opposite, even paradoxical, modes of teaching for musical imagination. [End Page 1]What Is Meant by My Dialectical Approach?In choosing a "this-with-that" approach rather than a both/and synthesis or either/or approach to the choices between alternatives in music education, I recognize that in the phenomenal world, educational decisions (as with decisions in other areas of life) are often difficult to arrive at and problematic in their outcomes. I see dialectics as seepages and tensions that arise between alternatives viewed comparatively. 6 These alternatives are not always logically compatible, equally feasible, or easily reconcilable. Rather, resolutions are made on the basis of incomplete information, consequences that flow from decisions are often unexpected, some things are easier to meld than others, and constituent value judgments are sometimes dissonant, even impossible, to reconcile logically and practically. My interest is in describing the epistemological quandaries in which musician-teachers and their students sometimes find themselves practically speaking. I do not seek a "one-size-fits-all" approach because it is impossible to realize practically even if it could be shown to be desirable. Music instruction takes place in the phenomenal world—a world of sometimes messy or fuzzy categories in which the teacher's and student's interests often lie at the margins, where one thing seems to become another 7 —and I seek to describe my own approach to tackling the sorts of practical dilemmas in which I find myself as teacher and student. As such, I am preoccupied with the question, How does one decide what to do as a music teacher or learner?For me, the best angle from which to address this question has been from a dialectical perspective. I came to this position as I reflected on my experience as a music teacher. 8 Things in the phenomenal world were never as simple as the theoretical models upon which I drew supposed. I was often faced with choices, and these choices were sometimes easily made and sometimes not. This practical experience resonated with that of others on a similar journey. For example, I. A. Richards remarks that Socrates enjoyed the friendship of those who were able to see both the "one-and-the-many... (shrink)

Je tente de mettre en évidence trois pôles thématiques qui structurent la résurgence actuelle de l’idée de vulnérabilité, pôles qui sont à comprendre comme constitués dans un champ de tensions, et n’existant jamais sous une forme pure. Je distingue le modèle d’une disponibilité à la blessure physique et morale, celui d’une association stricte de l’idée de vulnérabilité au concept de dépendance, et enfin la vulnérabilité comme impropriété de soi. Et dans la mesure où la notion de vulnérabilité suppose davantage que (...) la susceptibilité de certains torts, mais implique qu’ils peuvent être prévenus, un large espace pour l’éthique et/ou à l’action politique, à l’organisation collective, s’ouvre à chaque fois, que je m’efforce d’esquisser. (shrink)

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

The ARAROEM project stands for the Archives from Rhône-Alpes and Romandie gathering ephemeral objects inspired by medievalism. This is a project of research and of scientific education, which aims to collect and analyse multiples products made by craftspeople and industrial companies interested by the imaginary of Middle Ages. With a clear methodology, the project investigates three fundamental criteria to understand the Ephemeral Medievalist Objects (EMO): the symbolic value of the objects, the product lifespan and the durability. It involves various disciplines (...) such as medieval history, medievalisn, semiology, economy, sociology, anthropology and ecology. (shrink)

Si la notion de handicap ne cesse de progresser sur les plans tant déontologique que descriptif, l’évolution des mentalités, elle, reste en retard. La réalité du handicap génère toujours peurs et représentations contradictoires au sein de notre société. Le regard porté sur cette différence stigmatise et plonge les sujets dans des modalités relationnelles complexes. Être parent d’un enfant en situation de handicap, c’est porter une part de son stigmate. L’interaction entre le social et le familial produit des tensions qui deviennent (...) de véritables conflits psychiques au sein du groupe familial. L’article explore les mécanismes sociopsychologiques en œuvre. Il semble que certains parents vont progressivement, sous l’effet conjoint de leur propre histoire infantile et des messages sociaux concernant le handicap, mettre en place des mécanismes défensifs principalement marqués par l’évitement du lien à l’autre. (shrink)

In the 21st century what the future holds for young learners is unclear, what is clear is that they need to be confident, capable and resilient. As wider communication about education is increasing there is a developing understanding that children in settings across the globe learn in the same ways and have the same needs. This book considers international and multicultural learning environments from both theoretical and practical perspectives, written by specialists in early years education in the UK and in (...) international contexts. The theoretical perspectives are supported by eight case studies, from Uganda, Indonesia, Mexico, Qatar, Netherlands, Italy, the United Kingdom and Romania. (shrink)

This paper aims to refute the idea whereby giving consideration to vulnerability can only lead to an ethics, or is only relative to a politics derived from morality. I first shed some light on the seeming impossibility experienced by a large number of contemporary theories of vulnerability to fully think the political. Second, I define what one overlooks in the political when one simply considers it as a sphere of implementation of moral principles. Finally, I interpret care theories as an (...) attempt to overcome the difficulty of thinking the political from the viewpoint of vulnerability, and I define the political as a movement of reengaging with and transforming what is already instituted. (shrink)

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

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

Physiological experiments conducted over the last 60 years indicate that the plant hormone auxin regulates a diverse set of developmental processes via changes in cell division, cell elongation and cell differentiation. Recent studies using transgenic plants with altered auxin levels support these conclusions and promise to provide more detailed information on the role of auxin during plant development. Although it is possible that all auxin responses are mediated by the same primary biochemical events, the studies described in this review are (...) more consistent with multiple modes of auxin action. The development of molecular and genetic approaches to the study of hormone action should resolve this issue. The accelerated rate of progress in this field suggests that real insight into the mechanism of auxin action may be forthcoming. (shrink)

Although Judith Butler regards recognition as the theme unifying her work, one finds a striking absence of dialogue between her and the authors of the normative theories of recognition – Honneth, Habermas, Ricoeur, etc. In the present article I seek to call into question this sentiment, shared by the two sides, of a radical theoretical heterogeneity. First I seek to show that the theory of performativity which Butler developed initially, contrary to all expectations, sets her relatively apart from the tradition (...) to which she conforms (the French reading of Hegel), and brings her closer to the proposition represented by the normative theories of recognition in general, and that of Honneth in particular. Then I highlight how the recent modulations in her theory, through the appearance of the idea of a constitutive vulnerability, which enables her to found an ethics, undermine for once and for all the claim of irreducibility maintained by each of the two theories in relation to the other. (shrink)

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