Electroencephalogram based Brain–Computer Interfaces enable stroke and motor neuron disease patients to communicate and control devices. Mindfulness meditation has been claimed to enhance metacognitive regulation. The current study explores whether mindfulness meditation training can thus improve the performance of BCI users. To eliminate the possibility of expectation of improvement influencing the results, we introduced a music training condition. A norming study found that both meditation and music interventions elicited clear expectations for improvement on the BCI task, with the strength of (...) expectation being closely matched. In the main 12 week intervention study, seventy-six healthy volunteers were randomly assigned to three groups: a meditation training group; a music training group; and a no treatment control group. The mindfulness meditation training group obtained a significantly higher BCI accuracy compared to both the music training and no-treatment control groups after the intervention, indicating effects of meditation above and beyond expectancy effects. (shrink)

Auditory perception is traditionally conceived as the perception of sounds — a friend’s voice, a clap of thunder, a minor chord. However, daily life also seems to present us with experiences characterized by the absence of sound — a moment of silence, a gap between thunderclaps, the hush after a musical performance. In these cases, do we positively hear silence? Or do we just fail to hear, and merely judge or infer that it is silent? This longstanding question remains controversial (...) in both the philosophy and science of perception, with prominent theories holding that sounds are the only objects of auditory experience and thus that our encounter with silence is cognitive, not perceptual. However, this debate has largely remained theoretical, without a key empirical test. Here, we introduce a novel empirical approach, presenting experimental evidence that silence can be genuinely perceived (not just cognitively inferred). We ask whether silences can ‘substitute’ for sounds in event-based auditory illusions — empirical signatures of auditory event representation in which auditory events distort perceived duration. Seven experiments introduce three new ‘silence illusions’ — the one-silence-is-more illusion, silence-based warping, and the oddball-silence illusion — each adapted from a prominent perceptual illusion previously thought to arise only from sounds. Subjects were immersed in ambient noise interrupted by silences structurally identical to the sounds in the original illusions. In all cases, silences elicited temporal distortions perfectly analogous to the illusions produced by sounds. Our results suggest that silence is truly heard, not merely inferred, introducing a general approach for studying absence perception. (shrink)

Research concerning the relationship between psychological ethical climate and job satisfaction is popular in the literature. However, to date, no study in the literature has simultaneously investigated both the effects of individual-level and organization-level ethical climates on employees’ job satisfaction. On the basis of a multilevel analysis, the present study used a sample of 472 full-time employees from 31 organizations in Taiwan to examine the above two effects. Results from the analyses showed that within the organizations, individual employees’ instrumental climate (...) perceptions were negatively related to job satisfaction, whereas their caring climate perceptions and rules climate perceptions were positively related to job satisfaction. Also, the results indicated that between organizations, organizational instrumental climate was negatively related to job satisfaction, whereas organizational caring, independence, and rules climates were positively related to job satisfaction. Implications for research and managerial practices were derived from these findings. (shrink)

This study examined the relationships of perceived ethical leadership, workplace jealousy, and organizational citizenship behaviors directed at individuals and organizations. Survey responses were collected from 491 employee-coworker pairs from 33 hospitals in Taiwan. The employees provided assessments of their perceived ethical leadership and the workplace jealousy they experienced, while the coworkers provided information about the employees’ OCBI and OCBO. In the hypotheses testing, perceived ethical leadership was found to be negatively related to employees’ workplace jealousy and jealousy was negatively related (...) to their OCBI and OCBO. Workplace jealousy partially mediated the effect of ethical leadership on OCBI and OCBO. In addition, perceived ethical leadership was found to have a moderation effect on the jealousy-OCBI/ocbo relationship. This study contributes to the literature of ethical leadership as well as to the literature of OCB by relating workplace jealousy to OCB and by making sense of the effects of ethical leadership on OCB through the mediation of jealousy and through the moderation of ethical leadership on the jealousy-OCB relationship. (shrink)

"FICHTEANA Review of J.G. Fichte Research" is an online publication in English devoted to new scholarship on the philosopher Johann Gottlieb Fichte. It publishes information and reviews of the latest Fichte editions, books, publications, conferences, and Calls for Papers. Originally founded by Daniel Breazeale in 1993, since issue 22 (2022), FICHTEANA has appeared in an expanded form with book reviews. It is co-edited by Daniel Breazeale and David W. Wood, with associate editor Kienhow Goh. -/- .

In this work we investigate the Weihrauch degree of the problem Decreasing Sequence of finding an infinite descending sequence through a given ill-founded linear order, which is shared by the problem Bad Sequence of finding a bad sequence through a given non-well quasi-order. We show that $\mathsf {DS}$, despite being hard to solve, is rather weak in terms of uniform computational strength. To make the latter precise, we introduce the notion of the deterministic part of a Weihrauch degree. We then (...) generalize $\mathsf {DS}$ and $\mathsf {BS}$ by considering $\boldsymbol {\Gamma }$ -presented orders, where $\boldsymbol {\Gamma }$ is a Borel pointclass or $\boldsymbol {\Delta }^1_1$, $\boldsymbol {\Sigma }^1_1$, $\boldsymbol {\Pi }^1_1$. We study the obtained $\mathsf {DS}$ -hierarchy and $\mathsf {BS}$ -hierarchy of problems in comparison with the Baire hierarchy and show that they do not collapse at any finite level. (shrink)

The Covid-19 induced United Kingdom-wide lockdown in 2020 saw choirs face a unique situation of trying to continue without being able to meet in-person. Live networked simultaneous music-making for large groups of singers is not possible, so other “virtual choir” activities were explored. A cross sectional online survey of 3948 choir members and facilitators from across the United Kingdom was conducted, with qualitative analysis of open text questions, to investigate which virtual choir solutions have been employed, how choir members and (...) facilitators experience these in comparison to an “in-person” choir, and whether the limitations and opportunities of virtual choir solutions shed light on the value of the experience of group singing as a whole. Three virtual choir models were employed: Multi-track, whereby individuals record a solo which is mixed into a choral soundtrack; Live streamed, where individuals take part in sessions streamed live over social media; Live tele-conferencing, for spoken interaction and/or singing using tele-conferencing software. Six themes were identified in the open text responses: Participation Practicalities, encompassing reactions to logistics of virtual models; Choir Continuity, reflecting the responsibility felt to maintain choir activities somehow; Wellbeing, with lockdown highlighting to many the importance of in-person choirs to their sense of wellbeing; Social Aspects, reflecting a sense of community and social identity; Musical Elements, whereby the value of musical experience shifted with the virtual models; Co-creation through Singing, with an overwhelming sense of loss of the embodied experience of singing together in real-time, which is unattainable from existing virtual choir models. The experiences, activities and reflections of choir singers during lockdown present a unique perspective to understand what makes group singing a meaningful experience for many. Co-creation through Singing needs further investigation to understand the impact of its absence on virtual choirs being able re-create the benefits of in-person choirs. (shrink)

In _The Deconstruction of Sex_, Jean-Luc Nancy and Irving Goh discuss how a deconstructive approach to sex helps us negotiate discourses about sex and foster a better understanding of how sex complicates our everyday existence in the age of #MeToo. Throughout their conversation, Nancy and Goh engage with topics ranging from relation, penetration, and subjection to touch, erotics, and jouissance. They show how despite its entrenchment in social norms and centrality to our being-in-the-world, sex lacks a clearly defined essence. At (...) the same time, they point to the potentiality of literature to inscribe the senses of sex. In so doing, Nancy and Goh prompt us to reconsider our relations with ourselves and others through sex in more sensitive, respectful, and humble ways without bracketing the troubling aspects of sex. (shrink)

Alvin Plantinga has famously responded to the logical problem of evil by appealing to the intrinsic value of significant free will. A problem, however, arises because traditional theists believe that both God and the redeemed who go to heaven cannot do wrong acts. This entails that both God and the redeemed in heaven lack significant freedom. If significant freedom is indeed valuable, then God and the redeemed in heaven would lack something intrinsically valuable. However, if significant freedom is not intrinsically (...) valuable, then Plantinga’s reply to the logical problem of evil fails. In this paper, we assess three contemporary solutions to the dilemma above. The first is the love solution, which proposes that significant freedom is necessary for agents to love, and loving others is intrinsically good. The second is the soul-making solution, which argues that significant freedom is necessary for self-developing one’s moral character, and having a self-developed moral character is intrinsically good. The third is the derivative free will solution, which argues that significant freedom is necessary for derivative free will in heaven, and derivative free will is intrinsically good. We raise problems against all three solutions and instead defend a fourth solution – the ultimate responsibility solution. That is, significant freedom is instrumentally valuable as it gives agents ultimate responsibility with regards to morally significant acts. Finally, we defend the ultimate responsibility solution against two major objections. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

This text practices a philosophical voice that deviates from visuo-centric theory and the muteness of its language and instead sings a complex simultaneity of things and thoughts that burn through the walls of the discipline and illuminate the activities at the margins. This philosophical voice sings a refrain of “I,” which brings us back to bring us forward, surprising us in its renewal again and again. It is a body that is, as Samuel Beckett’s Not I, at once not I (...) and I; an idiosyncratic subjectivity that carries its plural name in its mouth. In this way, it further diffracts the sonic possibility of counterfactual slices into simultaneous dimensionalities open to our gaze in the dark, when we have let go of a normative orientation and are able to see the image at its depth. Between text scores, Churten theory, Canto Cardenche, and the breath of a humpback whale, this voice tries not to theorise. It does not want to produce a philosophical message, supporting a “philosophism” which akin to “scientism” treats philosophy as a phenomenon unconnected to cultural values or location, gender or racial specificity. Instead, it aims to practice a philosophy that opens in song to its own anxiety of objectivity, its fear of a reflective centre, and performs a translucent marginality that generates the view of a plural world burning through a permeable skin. (shrink)

What is the relationship between anger and justice, especially when so much of our moral education has taught us to value the impartial spectator, the cold distance of reason? In _Sing the Rage_, Sonali Chakravarti wrestles with this question through a careful look at the emotionally charged South African Truth and Reconciliation Commission, which from 1996 to 1998 saw, day after day, individuals taking the stand to speak—to cry, scream, and wail—about the atrocities of apartheid. Uncomfortable and surprising, these public (...) emotional displays, she argues, proved to be of immense value, vital to the success of transitional justice and future political possibilities. Chakravarti takes up the issue from Adam Smith and Hannah Arendt, who famously understood both the dangers of anger in politics and the costs of its exclusion. Building on their perspectives, she argues that the expression and reception of anger reveal truths otherwise unavailable to us about the emerging political order, the obstacles to full civic participation, and indeed the limits—the frontiers—of political life altogether. Most important, anger and the development of skills needed to truly listen to it foster trust among citizens and recognition of shared dignity and worth. An urgent work of political philosophy in an era of continued revolution, _Sing the Rage_ offers a clear understanding of one of our most volatile—and important—political responses. (shrink)

Background Participants' understanding of clinical trials is important in informed consent. However, little is known about what information participants really want to know. Aims To demonstrate the existence of a discrepancy between participants' understanding and their desire to know. Methods The participants in clinical trials at Seoul National University Hospital were surveyed. The survey consisted of 11 statements based on the essential elements of informed consent. The participants gave two responses to each statement on a five-point Likert scale to rate (...) their subjective understanding and desire to know, respectively. Information discrepancy was defined as the difference between these two ratings: if understanding exceeded desire to know for a particular item, it was defined as ‘over-informed’; if desire to know exceeded understanding for a particular item, it was defined as ‘under-informed’. Results Participants reported good understanding of ‘voluntariness’, ‘duration’, ‘study involves research’ and poor understanding of ‘confidentiality’, ‘compensation’, ‘benefits’, ‘procedures’ and ‘risks or discomforts’. For ‘risks or discomforts’, ‘who to contact’, ‘voluntariness’, ‘duration’ and ‘procedures’, participants reported high desire to know compared with ‘confidentiality’, ‘purpose’, ‘study involves research’ and ‘benefits’. The elements ‘study involves research’, ‘voluntariness’, ‘duration’, ‘purpose’ and ‘who to contact’ were over-informed, while ‘compensation’, ‘risks or discomforts’, ‘procedures’, ‘confidentiality’ and ‘benefits’ were under-informed. Participants over 50 years of age, those without a college education and those whose participation was less voluntary were relatively less informed about the clinical trials. Conclusions An information discrepancy was observed between the participants' understanding and their desire to know. By putting more emphasis on under-informed elements, the quality of informed consent could be improved. (shrink)

Extending a nascent line of Asian philosophical research in music education, we mine Indian philosophies of music and education. Three key questions guide our project: What are Vedic philosophies of music? What are Vedic philosophies of education? Taken together, what insights can we draw for contemporary music education writ large? To address our questions, we analyze key passages from the Upanishads and synthesize ideas from these texts. A quartet of inter-related ideas emerge from our analysis: the guru, the shishya, vidya, (...) and moksha. In brief, the guru (teacher) is revered as one would god, for it is the teacher who leads the shishya (student) toward vidya (knowledge) and through that toward moksha (liberation of the soul), which can also be attained via making music, such as the singing of Om (the absolute sound). In addition to proffering insights for contemporary music education, particularly in terms of how the ancient Vedic guru-shishya parampara adds nuance to contemporary discussions on the master-apprentice model of music education, we imagine how music education philosophy might look like if it were to be sung. (shrink)

In their invocations of the Muses the early epic poets use indifferently verbs meaning ‘tell’, ‘speak of’ and the verb which we normally translate as ‘sing’ When they refer directly to their own performance they may use the non-committalμνήσομαι, or ἐρέω, ἐνισπεῖνbut more often it isάείδω, ἄρχομ ἀείδεινor something of the sort; and they will pray for goodἀοιδήor hope for reward from it. We cannot make a distinction between two styles of performance, one characterized asἀείδειν the other as ἐνέπεινthe (...) Iliad beginsμῆνιν ἄειδε θεάbut later hasἔσπετε νῦν μοι Μοῦσαι;Hesiod moves straight fromχαίρετε τέκνα Διός, δότε δ᾿ ἱμερόεσσαν ἀοιδήνtoεἴπατε δ᾿ ὡς... ταῦτά μοι ἔσπετε Μοῦσαι... καὶ εἴπατε; the author of the Hymn to Pan beginsἔννεπε Μοῦσαand endsἴλαμαι δέ σ᾿ ἀοιδῇ... καὶ σεῖο καὶ ἄλλης μνήσομ᾿ ἀοιδῆς. (shrink)

Singing and praying in the words of biblical men and women is basic to sacramental mimesis, i.e., Christian imitation of the actions of the saints with the intention of thereby opening themselves to grace. This evidence counters the “voiceless victim” paradigm prevalent in much feminist scholarship. In pre-Christian Jewish liturgy, the song of Miriam after the Crossing of the Red Sea was already important in the annual celebration of the Passover. Jesus emphasized the spiritual equality of the sexes in his (...) teaching and ministry, and this led to increased visibility for women in Christian tradition: Susanna was the first of at least eight women interpreted as types of Christ. She was presented this way even within the synoptic Gospels themselves [see “Aneboesen phone megale: Susanna and the Synoptic Passion Narratives,” forthcoming in Gregorianium]. Moreover, the practice of presenting examples from both sexes in sermons and church decoration was so pervasive as to constitute a pastoral program of the Church. Such balanced representation of the sexes is found in both texts and art. The linguistic range of the evidence for the singing of women’s words includes Greek, Latin, Coptic, Syriac, Slavonic, and German. The artworks depicting women are from throughout the Christian world, including Dura Europos, Jerusalem, Egypt, Ethiopia, Cyprus, Syria, Armenia, Italy, France, Belgium, Germany. More than twenty biblical women are treated in the essay. Women’s words, quoted from the biblical record or imaginatively supplied, became the prayer of the whole congregation. Miriam’s words remain focal universally on Holy Saturday. The acclamations of Elizabeth and of the Virgin Mary became prominent early in both East and West . Both Byzantine and Gregorian chant commemorated them and other women such as Eve, Esther, Judith, Sarah , Susanna, Martha of Bethany, the Samaritan woman, the Canaanite woman, the woman with the ointment, the Samaritan woman, the ten virgins of the parable , and especially the Holy Women at the Tomb . Their proclamation of the Lord’s rising became particularly important in Byzantine resurrection hymns used at Easter and year-round. With four other first-century female saints– Junia, Mariamne, Photina and Thecla– Mary Magdalene was deemed ἰσαπόστολος “equal to the apostles,” because the angel commissioned her to announce the Lord’s Resurrection to the disciples. Martha’s profession of faith is the fullest recorded in the Gospels and became the basis for a Byzantine communion prayer . Repeatedly, one finds that women’s words were sung at important Sunday feasts and during Holy Week. In Gregorian chant their words were sung over the course of several days. Susanna’s words are readily found in fifty Gregorian chant manuscripts from the ninth through fifteenth centuries, used in cathedrals, in monasteries and other religious houses, and in parish churches; an appendix lists these manuscripts. Throughout the continent–in Italy, Austria, Slovenia, Germany, Switzerland, France, The Netherlands, England, Wales–the varied communities of the church sang Susanna’s words. Moreover, her words as mediated through Gregorian chant were quoted by Bernard of Clairvaux in a sermon and by Hermann of Scheda in his account of his conversion from Judaism. These men used Susanna’s words to evoke her as a type of Christ and thereby to seek to be like him themselves. That is, they experienced sacramental mimesis through singing women’s words. (shrink)

This is a unique, groundbreaking collection of autobiographical essays by leading women in philosophy. It provides a glimpse at the experiences of the generation that witnessed, and helped create, the remarkable advances now evident for women in the field.

This study examines the impact of attitude toward piracy on intention to buy pirated CDs using Chinese samples. Attitude toward piracy is measured by a multi-item scale that has been shown to have a consistent factor structure with four distinct components, namely, social cost of piracy, anti-big business attitude, social benefit of dissemination, and ethical belief. Our findings reveal that social benefit of dissemination and anti-big business attitude have a positive relationship with intention to buy pirated CDs while social cost (...) of piracy and ethical belief have a negative relationship. Among these components, ethical belief tends to most strongly predict intention to buy pirated CDs. Demographic variables such as gender and age also help explain the respondents' intention to buy pirated CDs. In addition, those respondents with experience of buying pirated CDs would tend to be more likely to buy pirated CDs than those without such experience. The results are discussed with a view to helping copyright businesses to effectively suppress piracy, and directions for future research are suggested. (shrink)

Theorems of hyperarithmetic analysis occupy an unusual neighborhood in the realms of reverse mathematics and recursion-theoretic complexity. They lie above all the fixed iterations of the Turing jump but below ATR $_{0}$. There is a long history of proof-theoretic principles which are THAs. Until the papers reported on in this communication, there was only one mathematical example. Barnes, Goh, and Shore [1] analyze an array of ubiquity theorems in graph theory descended from Halin’s [9] work on rays in graphs. They (...) seem to be typical applications of ACA $_{0}$ but are actually THAs. These results answer Question 30 of Montalbán’s Open Questions in Reverse Mathematics [19] and supply several other natural principles of different and unusual levels of complexity.This work led in [25] to a new neighborhood of the reverse mathematical zoo: almost theorems of hyperarithmetic analysis. When combined with ACA $_{0}$ they are THAs but on their own are very weak. Denizens both mathematical and logical are provided. Generalizations of several conservativity classes are defined and these ATHAs as well as many other principles are shown to be conservative over RCA $_{0}$ in all these senses and weak in other recursion-theoretic ways as well. These results answer a question raised by Hirschfeldt and reported in [19] by providing a long list of pairs of principles one of which is very weak over RCA $_{0}$ but over ACA $_{0}$ is equivalent to the other which may be strong or very strong going up a standard hierarchy and at the end being stronger than full second-order arithmetic. (shrink)

In the present paper, we explore the impact of singing for girls in rural Bangladesh. Previous findings in this field-based interview study (with 18 girls) have demonstrated that singing can act as a driving force in young girls’ psychological individuation processes, implying increased agency and autonomy. A critical question, however, is to what extent the village girls will manage to maintain a feeling of agency as they pass through puberty. How do they navigate between their own wish to continue singing (...) and pressure from cultural norms (such as getting married)? Using Margareth Archer’s morphogenetic approach and Arjun Appadurai’s approach to culture as a capacity as analytical tools, we connect different modes of reflexivity to the girls’ capacity to aspire. We discuss specific mechanisms that emerge as relevant for the girls/young women as they navigate their way through the Bengali rural society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 112-118 [Access article in PDF] Hong Kong Art: Culture and Decolonization, by David Clarke. Durham, North Carolina: Duke University Press, 2002, 240 pp. Paper. The issue of identity is a "vicious" circle in relation to Hong Kong's return to China in 1997. The more one talks about it, the more it is to be talked about as if it is a phenomenon (...) at a very special moment. But isn't not talking about Hong Kong identity in a certain period of time also a "vicious" circle, in which the lack of noise invites further silence?David Clarke's Hong Kong Art is, in a sense, an initiation of Hong Kong art as a "vicious" circle. In this sense, a concrete affinity between a text and its subject matter is significantly established. This is one of the ideals, potentials, and powers of all books written for the sake of being read and having actual effect. In this respect, this "vicious" circle is not vicious in a negative sense. It is through such interactivities that a book establishes a positive link with its subject matter.Hong Kong Art investigates "a particular historical moment in which HongKong art came into its own" (p. 10) and dwells upon the "local-ness of recent Hong Kong art" (p. 8). Nevertheless, Clarke deliberately avoids introducing a chronological survey of "Hong Kong art history as a whole" (p. 10). His solid research draws on the colloquial meanings of Hong Kong art in connection with the dynamics among different languages (Cantonese, Mandarin, and English), local receptions of art as reflected in local media, as well as backgrounds of artists, artworks, and political and cultural developments, among others. All this is necessary for a book that examines theemergence of Hong Kong identity. This is the case especiallyas "[n]o adequate survey exists of Hong Kong art as a whole," albeit surveying Hong Kong art as a whole is not the book's objective. Clarke's meta-survey about surveys on Hong Kong art is given in an endnote, which I also quote here in a note for the reader's reference. "The present author's Art and Place: Essays on Art from a Hong KongPerspective (Hong Kong, 1996) attempts to give a picture of the Hong Kong art world in the period immediately prior to the one covered by this text, and includes [End Page 112] some discussion of art from earlier periods as well. Petra Hinterthür'sModern Art in Hong Kong (Hong Kong, 1985) attempts a brief survey, but is of course unable to throw light on more recent developments. A chronology of Hong Kong art development from 1922 to 1994 is given in Hong Kong Artists. Volume 1 (Hong Kong, 1995), pp. 21-32. A rather patchy and sometimes imprecise chronology of Hong Kong artistic events from 1967 to 1998 isgiven in Gao Minglu, ed., Inside Out: New Chinese Art (Berkeley, 1998), pp. 207-11. The latter chronology also covers political and other broader historical events of the period. A valuable resource (in Chinese) for research on the early period of Hong Kong art is provided by Edwin Lai and Jack Lee, 'A Chronology of Visual Arts Activities in Hong Kong, 1900-1930,' in Besides: A Journal of Art History and Criticism 1 (1997): 135-230" (p. 211).With regard to the book's "ideal" link with its subject matter, I will now discuss the book's actualization of what it sets out to examine. The inadequacy of surveys on Hong Kong art (whether or not as a whole) manifests the relative tranquility in acknowledging that Hong Kong art is distinct. In view of this, the book itself is an intervention that (further) actualizes what it talks about. This is the case particularly in light of its predecessors' "vicious" circle of "silence," let alone those simplifications reducing Hong Kong art to either a Westernized product or a Chinese branch.The "Introduction" of Hong Kong Art begins with a critique of Western art history practices such as Gardner's... (shrink)

We assessed the automaticity of spatial-numerical and spatial-musical associations by testing their intentionality and load sensitivity in a dual-task paradigm. In separate sessions, 16 healthy adults performed magnitude and pitch comparisons on sung numbers with variable pitch. Stimuli and response alternatives were identical, but the relevant stimulus attribute (pitch or number) differed between tasks. Concomitant tasks required retention of either color or location information. Results show that spatial associations of both magnitude and pitch are load sensitive and that the spatial (...) association for pitch is more powerful than that for magnitude. These findings argue against the automaticity of spatial mappings in either stimulus dimension. (shrink)

To what extent can meaning be attributed to nature, and what is the relationship between such “natural sense” and the meaning of linguistic and artistic expressions? To shed light on such questions, this essay lays the groundwork for an “ontology of sense” drawing on the insights of phenomenology and Merleau-Ponty’s theory of expression. We argue that the ontological continuity of organic life with the perceived world of nature requires situating sense at a level that is more fundamental than has traditionally (...) been recognized. Accounting for the genesis of this primordial sense and the teleology of expressive forms requires the development of an ontology of being as interrogation, as suggested by Merleau-Ponty’s later investigations. (shrink)

Consciousness has been and will continue to be one of the central problems of philosophy. In written works the fact that the consciousness can sing is presented as one of the most interesting and enigmatic properties of consciousness. That consciousness can sing, and in fact does so, and to prove that this is the case is relatively easy. It is enough to say that “one is singing within oneself”, not loudly and only one or various simple sounds in (...) a way so that the Phonologic system does not take part at all. The arguments over whether or not the consciousness can sing are based on comparisons of paragraphs 15 to 27 from the first and second editions of Kant’s “Critique of Pure Reason” which were modified in the second edition, where no categorical statement about the similaritybetween reproduced representations and phenomenon is found. The problem between the similarity between the reproduced representations in the consciousness/brain and the consciousness/brain phenomenon were investigated by Kant in his first and second edition, where Kant reached his conclusion about the reproduced representations in the phenomenon. We are in agreement with Kant that there can exist in “the interior” of consciousness/brains of all human beings the state of similarity or difference between the represented and the perceived, but the unity of the consciousness can be found in only one state: the similarity between the represented and the perceived in the “interior”, of the consciousness/brain. In view of the similarity of the reproduced representations and the phenomenon of the consciousness/brain, the consciousness can sing and be united, or, if not, referring to the dissimilarity, the consciousness cannot sing and can be divided. (shrink)

Jean-Luc Nancy stands as one of the great French theorists of "deconstruction." His writings on philosophy, politics, aesthetics, and religion have significantly contributed to the development of contemporary French thought and helped shape and transform the field of continental philosophy. Through Nancy's immense oeuvre, which covers a wide range of topics such as community, freedom, existence, sense/ touch, democracy, Christianity, the visual arts and music, and writing itself, we have learned to take stock of the world in a more nuanced (...) fashion. In this collection, contemporaries of Nancy and eminent scholars of continental philosophy, including Giorgio Agamben, Étienne Balibar, Ginette Michaud, Georges Van Den Abbeele, Gregg Lambert and Ian James, have been invited to reflect on the force of Nancy's "deconstruction" and how it has affected, or will affect, the ways we approach many of the most pertinent topics in contemporary philosophy. The collection also includes Jean-Luc Nancy's previously unpublished 'Dialogue Beneath the Ribs', where he reflects, twenty years after, on his heart transplant. Nancy Now will be of critical interest not only to scholars working on or with Nancy's philosophy, but also to those interested in the development and future of French thought. (shrink)

This paper progresses the original argument of Richard Ratzan that formal presentation of the medical case history follows a Homeric oral-formulaic tradition. The everyday work routines of doctors involve a ritual poetics, where the language of recounting the patient's ‘history’ offers an explicitly aesthetic enactment or performance that can be appreciated and given meaning within the historical tradition of Homeric oral poetry and the modernist aesthetic of Minimalism. This ritual poetics shows a reliance on traditional word usages that crucially act (...) as tools for memorisation and performance and can be linked to forms of clinical reasoning; both contain a tension between the oral and the written record, questioning the priority of the latter; and the performance of both helps to create the Janus-faced identity of the doctor as a ‘performance artist’ or ‘medical bard’ in identifying with medical culture and maintaining a positive difference from the patient as audience, offering a valid form of patient-centredness. (shrink)