On the basis of psychological research, a group of philosophers known as 'situationists' argue that the evidence belies the existence of broad and stable (or 'global') character traits. They argue that this condemns as psychologically unrealistic those traditions in moral theory in which global virtues are upheld as ideals. After a survey of the debate to date, this article argues that the thesis of situationism is ill-supported by the available evidence. Situationists overlook the explanatory potential of a large class of (...) global character traits, namely, vices that do not involve other-directed malevolence, such as laziness, cowardice, and selfishness. A detailed discussion of the relevant empirical studies bearing on moral psychology shows that the behavioral patterns observed in these studies are consistent with the widespread possession of such non-malicious vices. This means, contrary to the situationist thesis, that the empirical record is fully compatible with the common existence of global character traits. (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...) both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

The reviewer discusses how Kathleen Touchstone’s book, “Freedom, Eudaemonia, and Risk”, raises the big question of why a person would rationally choose to risk their life, as well as prompting readers to think deeply about other issues including the natural rights of children, the point at which human life begins, the virtue of parenting, rules of thumb for charitable giving, and the bequest motive in risking death. He considers that Touchstone makes an important contribution in explaining the role that a (...) person’s concept of identity plays in principled risk-taking and by emphasizing that life is not riskless. (shrink)