Michael Winkelman, who is a senior lecturer in the department of anthropology, Arizona State University, and director of its ethnographic field school, has provided a rich overview of the neurophenomenology of shamanism in his book, Shamanism: The Neural Ecology of Consciousness. Written in the tradition of Laughlin, McManus, and d'Aquili's 1992 classic, Brain, Symbol, and Experience: Toward a Neurophenomenology of Consciousness, Winkelman considers shamanism in many of its facets. He explores shamanism's social and symbolic content, and the implications of its (...) neurological underpinnings both for shamanic practitioners and for their clients. (shrink)

An accessible yet rigorous introduction to the influential French philosopher Gilbert Simondon's philosophy of individuation. Gilbert Simondon, one of the most influential contemporary French philosophers, published only three works: L'individu et sa genèse physico-biologique and L'individuation psychique et collective, both drawn from his doctoral thesis, and Du mode d'existence des objets techniques. It is this last work that brought Simondon into the public eye; as a consequence, he has been considered a “thinker of technics” and cited often in pedagogical reports (...) on teaching technology. Yet Simondon was a philosopher whose ambitions lay in an in-depth renewal of ontology as a process of individuation—that is, how individuals come into being, persist, and transform. In this accessible yet rigorous introduction to Simondon's work, Muriel Combes helps to bridge the gap between Simondon's account of technics and his philosophy of individuation. Some thinkers have found inspiration in Simondon's philosophy of individuation, notably Gilles Deleuze and Félix Guattari. Combes's account, first published in French in 1999, is one of the only studies of Simondon to appear in English. Combes breaks new ground, exploring an ethics and politics adequate to Simondon's hypothesis of preindividual being, considering through the lens of transindividual philosophy what form a nonservile relation to technology might take today. Her book is essential reading for anyone who wants to understand Simondon's work. (shrink)

In a reading of René Descartes's The Passions of the Soul, Luce Irigaray explores the possibility that wonder, first of all passions, can provide the basis for an ethics of sexual difference because it is prior to judgment, and thus nonhierarchical. For Descartes, the passion of generosity gives the key to ethics. I argue that wonder should be extended to other differences and should be combined with generosity to form the basis of an ethics.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 71-75 [Access article in PDF] Response to Kingsley Price's "How Can Music Seem to be Emotional" Marguerite Nering Calgary, Canada Kingsley Price argues that music, since it is not personal, cannot be emotional but can only seem emotional. In an earlier draft of this paper he described it more fully: "Music is not a person, cannot possibly harbor an inward life, (...) and cannot possibly be emotional." He then sets out to discover how music, since for him it is not emotional, can seem to be so. Through a step-by-step process of philosophical inquiry, he first looks within perception and not finding an answer there, searches without, mainly focusing on meaning and Susanne Langer's theory of emotion and music. His search is unrewarded, leaving him to conclude that the answer to his question remains an incomprehensible mystery.His logic at first seems impervious to dispute. Had he not strictly limited his meaning of music and emotion-particularly emotion-it may have simplified responding to his query. For him, "music" refers to instrumental music that is heard or perceived. "Emotion" means conscious feelings we find ourselves in when undergoing emotion.The major question one must ask is whether his basic premise is accurate. Is he correct in stating that music unequivocally is not emotional but only seems so? [End Page 71] Is he correct in stating that music does not harbor an inward life? After all, he is talking about instrumental music that is perceived. While one cannot deny that notated music on paper is not emotional, does this hold for instrumental music being performed and transmitted? The source is a live human, someone who has an inward life, or at least did have at the time of production. The receptor is alive and has an inward life. The human source is sending living music imbued with emotion and energy. The airwaves transport these vibrations. Can we really say that the living or live music reaching the receiver's ears is not carrying real emotion?Returning to Price's analysis, we find he looks first at perception itself, in this case sense perception, and determines that it has two major constituents: awareness and the object of awareness. He argues that awareness cannot seem to exist; it must exist. It is always simple; therefore, there can be no characteristic that makes it seeming and not real. I question whether the latter conclusion necessarily follows, that is, that reality is a consequence of simplicity, but I must agree that awareness by virtue of its existence must be real.Music heard is the object of awareness. He states that the distinction between seeming and reality does apply to some things-for example, to Macbeth seeing a dagger that really is not there-but declares that this cannot apply to music heard, for it actually exists. Does this mean that one cannot hear music that really is not there? The illusion should work for hearing if it works for vision. Back to his argument, because music heard exists, he reasons that one cannot say that the seeming emotionality in music can be traced to the character of the music that bears it. I wonder then how this would apply to a person playing music with real emotion for his or her own enjoyment? In this case the human receptor of music is also the human source of the music. They are one and the same, and this person of course has an inward personal life. Does this music only seem emotional or is it really emotional? It would make sense that it is really emotional.He then looks at whether the seemingness of emotionality can be traced to emotionality itself and deduces that it cannot. Emotions are real. If we feel joy, it is real joy we are feeling and not seeming joy. One cannot debate this. Again, however, I am not convinced of the seemingness of the emotionality of music. Because music comes from a living person, it is an extension... (shrink)

Envy and resentment are generally thought to be unpleasant and unethical emotions which ought to be condemned. I argue that both envy and resentment, in some important forms, are moral emotions connected with concern for justice, understood in terms of desert and entitlement. They enable us to recognise injustice, work as a spur to acting against it and connect us to others. Thus, we should accept these emotions as part of the ethical life.

Czech translation of Marguerite Léna’s Choisir l’ Europe: Constantin Sigov et la dignité humaine.

The newly private corporation challenges scholars to re-examine corporate social responsibility under a markedly different governance system. We theorize regarding the implications of public corporations going private through use of private equity. The new governance system includes few owners and an expert, involved board of directors; combined with a greatly reduced public presence, public-to-private firms are proposed to place greater emphasis on financial performance and lesser emphasis on social performance. Several variables are proposed to moderate the lesser emphasis on social (...) performance. (shrink)

This paper approaches the question of awareness outside of attention through a broader psychological examination of human consciousness. Questions regarding the boundaries of conscious awareness, as well as the possibility of 'subconscious' or 'unconscious' mental processes, were widely discussed 100 years and more ago when they played a central role in the thinking of turn-of-thecentury theorists such as William James, F.W.H. Myers, Jean-Martin Charcot, and Pierre Janet, all of whom were interested in dissociative phenomena suggestive of consciousness, or awareness, beyond (...) the margins of attention. Such phenomena included hypnosis, hysteria, trance states, and motor automatisms, and for many scholars also sleep related conditions such as dreaming and hypnogogic states. (shrink)

This work examines Aristotle's discussions of definition in his logical works and the Metaphysics, and argues for the importance of definitions of simple ...

Early feminist or pro-woman works often combine the claim that the rational souls of men and women are the same with an argument for the superiority of women. This article considers two such works, Lucrezia Marinella's The Nobility and Excellence of Women and the Defects and Vices of Men (Venice, 1601 [1999]) and Marguerite Buffet's In Praise of Illustrious Learned Women, both Ancient and Modern (Paris, 1668), in order to show the continuities and distinctive features of feminist arguments for (...) superiority, to emphasize the differences in the conceptions of reason and physiology that distinguish them, and to demonstrate that claims of superiority persisted even as those defending women's worth began to adopt egalitarian positions. (shrink)

Iris Marion Young argues we cannot understand others' experiences by imagining ourselves in their place or in terms of symmetrical reciprocity (1997a). For Young, reciprocity expresses moral respect and asymmetry arises from people's greatly varying life histories and social positions. La Caze argues there are problems with Young's articulation of asymmetrical reciprocity in terms of wonder and the gift. By discussing friendship and political representation, she shows how taking self-respect into account complicates asymmetrical reciprocity.

Aristotle's remarks about the differences between the sexes have become infamous for their implications for the social status of women. In his observations on female biology, Aristotle claims that "the female nature is, as it were, a deformity." In describing women's role in the public sphere, he claims that women are naturally subordinate because, while they possess a deliberative faculty, that capacity is "without authority." While both claims express the "inferiority" of female bodies/women relative to male bodies/men, it is not (...) self-evident that the defects Aristotle identifies in female biology have cognitive or moral manifestations that would justify the rule of men over women in political life. Marguerite Deslauriers here aims to construct a coherent picture of Aristotle's views on sexual and gender-based difference from these remarks and to show the extent to which his views on female biology and women's role in politics are causally connected. Without exculpating Aristotle from charges of misogyny, Deslauriers contextualizes his explanations of the role and origin of female animals in his biology and the role of women in his political philosophy; she shows how Aristotle developed these views and the importance they hold for his wider philosophical commitments. She then explores how Aristotle might have seen the link between the physiology of sex and the bearing it has on political life. She ultimately argues that in Aristotle's conception of sexual difference in biology and politics, there is a tension between his view of the inferiority of female bodies and women and his commitment to the idea that females and women are valuable both for generation and for the political life characteristic of human beings. In this tension she finds a difference between Aristotle and his predecessors: while previous accounts associate sexual difference with affliction, Aristotle sees sexual difference as a benefit, both to a species and a political community. This volume will be of interest to philosophers and students interested in ancient philosophy, feminist philosophy, as well as those studying moral and political philosophy. (shrink)

ABSTRACTIn the debate about the worth of women in sixteenth and seventeenth century Italy three pro-woman authors of the period, Moderata Fonte, Lucrezia Marinella, and Arcangela Tarabotti, develop...

The authors find it more useful to payattention to relationships than to boundaries.By focusing attention on bounded, individualpsychological issues, the metaphor ofboundaries can distract helping professionalsfrom thinking about inequities of power. Itoversimplifies a complex issue, inviting us toignore discourses around gender, race, class,culture, and the like that support injustice,abuse, and exploitation. Making boundaries acentral metaphor for ethical practice can keepus from critically examining the effects ofdistance, withdrawal, and non-participation.The authors describe how it is possible toexamine the practical, moral, and ethicaleffects (...) of our participation in relationshipsby focusing on just relationships rather thanon boundaries. They give illustrations andclinical examples of relationally-focusedethical practices that derive from a narrativeapproach to therapy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 71-75 [Access article in PDF] Response to Kingsley Price's "How Can Music Seem to be Emotional" Marguerite Nering Calgary, Canada Kingsley Price argues that music, since it is not personal, cannot be emotional but can only seem emotional. In an earlier draft of this paper he described it more fully: "Music is not a person, cannot possibly harbor an inward life, (...) and cannot possibly be emotional." He then sets out to discover how music, since for him it is not emotional, can seem to be so. Through a step-by-step process of philosophical inquiry, he first looks within perception and not finding an answer there, searches without, mainly focusing on meaning and Susanne Langer's theory of emotion and music. His search is unrewarded, leaving him to conclude that the answer to his question remains an incomprehensible mystery.His logic at first seems impervious to dispute. Had he not strictly limited his meaning of music and emotion-particularly emotion-it may have simplified responding to his query. For him, "music" refers to instrumental music that is heard or perceived. "Emotion" means conscious feelings we find ourselves in when undergoing emotion.The major question one must ask is whether his basic premise is accurate. Is he correct in stating that music unequivocally is not emotional but only seems so? [End Page 71] Is he correct in stating that music does not harbor an inward life? After all, he is talking about instrumental music that is perceived. While one cannot deny that notated music on paper is not emotional, does this hold for instrumental music being performed and transmitted? The source is a live human, someone who has an inward life, or at least did have at the time of production. The receptor is alive and has an inward life. The human source is sending living music imbued with emotion and energy. The airwaves transport these vibrations. Can we really say that the living or live music reaching the receiver's ears is not carrying real emotion?Returning to Price's analysis, we find he looks first at perception itself, in this case sense perception, and determines that it has two major constituents: awareness and the object of awareness. He argues that awareness cannot seem to exist; it must exist. It is always simple; therefore, there can be no characteristic that makes it seeming and not real. I question whether the latter conclusion necessarily follows, that is, that reality is a consequence of simplicity, but I must agree that awareness by virtue of its existence must be real.Music heard is the object of awareness. He states that the distinction between seeming and reality does apply to some things-for example, to Macbeth seeing a dagger that really is not there-but declares that this cannot apply to music heard, for it actually exists. Does this mean that one cannot hear music that really is not there? The illusion should work for hearing if it works for vision. Back to his argument, because music heard exists, he reasons that one cannot say that the seeming emotionality in music can be traced to the character of the music that bears it. I wonder then how this would apply to a person playing music with real emotion for his or her own enjoyment? In this case the human receptor of music is also the human source of the music. They are one and the same, and this person of course has an inward personal life. Does this music only seem emotional or is it really emotional? It would make sense that it is really emotional.He then looks at whether the seemingness of emotionality can be traced to emotionality itself and deduces that it cannot. Emotions are real. If we feel joy, it is real joy we are feeling and not seeming joy. One cannot debate this. Again, however, I am not convinced of the seemingness of the emotionality of music. Because music comes from a living person, it is an extension... (shrink)

In this ground-breaking work, Allan Combs presents a wide-ranging survey of the nature and origins of consciousness research, viewing consciousness as a dynamic and self-organizing process with evolutionary potential. Combs reviews the work of evolutionary theorists such as Pierre Teilhard de Chardin, Ken Wilber, Jean Gebser, and Sri Aurobindo. What emerges is a fascinating study of consciousness that discloses itself as a rich and ongoing act of self-creation, poised at the edge of chaos between past and future.

Background Regarding controversial medical services, many have argued that if physicians cannot in good conscience provide a legal medical intervention for which a patient is a candidate, they should refer the requesting patient to an accommodating provider. This study examines what US physicians think a doctor is obligated to do when the doctor thinks it would be immoral to provide a referral. Method The authors conducted a cross-sectional survey of a random sample of 2000 US physicians from all specialties. The (...) primary criterion variable was agreement that physicians have a professional obligation to refer patients for all legal medical services for which the patients are candidates, even if the physician believes that such a referral is immoral. Results Of 1895 eligible physicians, 1032 (55%) responded. 57% of physicians agreed that doctors must refer patients regardless of whether or not the doctor believes the referral itself is immoral. Holding this opinion was independently associated with being more theologically pluralistic, describing oneself as sociopolitically liberal, and indicating that respect for patient autonomy is the most important bioethical principle in one's practice (multivariable ORs, 1.6–2.4). Conclusions Physicians are divided about a professional obligation to refer when the physician believes that referral itself is immoral. These data suggest there is no uncontroversial way to resolve conflicts posed when patients request interventions that their physicians cannot in good conscience provide. (shrink)

The implications of Warren McCulloch's 1945 concept of heterarchy are analyzed in terms of human value and motivational systems. The results demonstrate the near-impossibility of predicting behavior on the basis of any hierarchical scheme, or even which among a set of hierarchical schemes will be selected as the basis of a behavioral choice. Thus, for example, people regularly say one thing and do another.