This article explores the many offences (e.g. noise pollution, unlicensed performances, and Health and Safety offences) that may be committed by personnel in the music industry and their employers. It also explores the many breaches of Intellectual Property law that may be committed by others against the musician’s rights.

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach (...) proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur. -/- . (shrink)

This commentary records, through notes taken by Hermias, Syrianus' seminar on Plato's Phaedrus, one of the world's most influential celebrations of erotic beauty and love. It is the only Neoplatonic commentary on Plato's Phaedrus to have survived in its entirety. Further interest comes from the recorded interventions by Syrianus' pupils - including those by Proclus, his eventual successor as head of the Athenian school, who went on to teach Hermias' father, Ammonius. The second of two volumes of Hermias' commentary, the (...) chapters translated here begin with a discussion of how the discarnate soul is visualised as a winged chariot team whose charioteer may gain some glimpse of beauty itself, which can explain subsequent erotic longing. This volume provides a translation is accompanied by explanatory notes, an introduction detailing the significance and context of the treatise and a scholarly apparatus including multiple indexes, glossaries and a bibliography. (shrink)

(For English, scroll down) Der Text präsentiert drei miteinander verbundene Thesen. (1) Philosophie der Musik modifiziert philosophische Grundbegriffe. (2) Eine gemeinsame Eigenschaft in der Vielfalt der Musikformen liegt im Effekt einer Wahrnehmungsveränderung: oft subtil, unterschwellig und zuweilen als ekstatisch erlebte Selbst- und Welt-Transformation. (3) Strenggenommen nehmen wir nicht Töne wahr, sondern a) unsere Hör-Physiologie wandelt Schwingungsfrequenzen ab circa 18 Hz in Tonhöhen um und damit Zeit-Organisation in ein Raum-Äquivalent. (Musik mit tiefen Tönen an der Grenze zur Wahrnehmung, etwa mittels großer (...) Orgelpfeifen in Kathedralen oder Ton-Anlagen in Nachtclubs, inszeniert genau diesen physiologischen Umschlag, mit potentiellen Transzendenz-Effekten.) b) Wir nehmen einfache Frequenzverhältnisse wie 1:2, 2:3 etc. als (relativ) konsonant wahr, komplexere Verhältnisse als (relativ) dissonant. Die Folge: c) Musikhören verbindet uns mit physikalischem Verhalten von Materie, einschließlich unserer selbst. Hierin gründen rare, musikalisch herausgehobene Eindrücke von Erkenntnis und Enthüllung: das Universum betreffend und unsere Stellung in ihm. -/- The text presents three related claims. (1) Music as a topic of philosophy alters key philosophical concepts; (2) In spite of their vast cultural, historical and contextual differences, all forms of music share the effect of a transformation of perception: ranging from subtle and subliminal to the (rare) experience of ecstatic world- and self-transformations; (3) Strictly speaking, we do not perceive sounds. Rather, a) our hearing-physiology translates frequencies (impulses) of more than 18 Hz into pitch and thus temporal events into quasi-spatial perceptions. Compositions containing very deep sounds (e.g. in cathedrals or in night-clubs) stage exactly this physiological conversion: with potentially ‘transcendence’-like effects. b) We hear simple frequency-ratios such as 1:2, 2:3, 3:4 etc. as (relative) consonances and more complex ones as (relative) dissonances. Thus, c) musical compositions make laws of physical behaviour of matter affectively perceptible. This allows for the occasional impression of musical revelations: regarding the universe, its laws, and our place in it. -/- . (shrink)

This paper will attempt to reposition Ludwig von Mises’s methodological Apriorism and the Austrian economic method firmly in the Aristotelian realist tradition of Apriorism, rather than the more problematic Apriorism associated with Kantian idealism. The author will argue that the Misean method whilst aesthetically Kantian, is far more nuanced than semantics suggest.

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

What is it for two people to think of an object, natural kind or other entity under the same mode of presentation (MOP)? This has seemed a particularly difficult question for advocates of the Mental Files approach, the Language of Thought, or other ‘atomistic’ theories. In this paper I propose a simple answer. I first argue that, by parallel with the synchronic intrapersonal case, the sharing of a MOP should involve a certain kind of epistemic transparency between the token thoughts (...) of the two thinkers. I then explain how shared words help bring about this transparency. Finally, I show how this account can be extended for thoughts expressed using demonstratives or indexicals. (shrink)

We provide a new perspective on the relation between the space of description of an object and the appearance of novelties. One of the aims of this perspective is to facilitate the interaction between mathematics and historical sciences. The definition of novelties is paradoxical: if one can define in advance the possibles, then they are not genuinely new. By analyzing the situation in set theory, we show that defining generic (i.e., shared) and specific (i.e., individual) properties of elements of a (...) set are radically different notions. As a result, generic and specific definitions of possibilities cannot be conflated. We argue that genuinely stating possibilities requires that their meaning has to be made explicit. For example, in physics, properties playing theoretical roles are generic; then, generic reasoning is sufficient to define possibilities. By contrast, in music, we argue that specific properties matter, and generic definitions become insufficient. Then, the notion of new possibilities becomes relevant and irreducible. In biology, among other examples, the generic definition of the space of DNA sequences is insufficient to state phenotypic possibilities even if we assume complete genetic determinism. The generic properties of this space are relevant for sequencing or DNA duplication, but they are inadequate to understand phenotypes. We develop a strong concept of biological novelties which justifies the notion of new possibilities and is more robust than the notion of changing description spaces. These biological novelties are not generic outcomes from an initial situation. They are specific and this specificity is associated with biological functions, that is to say, with a specific causal structure. Thus, we think that in contrast with physics, the concept of new possibilities is necessary for biology. (shrink)

Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, integrating the incidence (...) of dramaturgy in the strategies of choreographic and musical composition. (shrink)

This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other (...) things, (1) emotion regulation and (2) social coordination. When we do things with music, we are engaged in the work of creating and cultivating the self, as well as creating and cultivating a shared world that we inhabit with others. I develop this thesis by first introducing the notion of a musical affordance . Next, I look at how emotional affordances in music are exploited to construct and regulate emotions. I summon empirical research on neonate music therapy to argue that this is something we emerge from the womb knowing how to do. I then look at social affordances in music, arguing that joint attention to social affordances in music alters how music is both perceived and appropriated by joint attenders within social listening contexts. In support, I describe the experience of listening to and engaging with music in a live concert setting. Thinking of music as an affordance-laden structure thus reaffirms the crucial role that music plays in constructing and regulating emotional and social experiences in everyday life. (shrink)

What is it to share the same concept? The question is an important one since sharing the same concept explains our ability to non-accidentally coordinate on the same topic over time and between individuals. Moreover, concept identity grounds key logical relations among thought contents such as samesaying, contradiction, validity, and entailment. Finally, an account of concept identity is crucial to explaining and justifying epistemic efforts to better understand the precise contents of our thoughts. The key question, then, is what psychological (...) and social facts could play these roles? Elsewhere, we have argued for a specific relational model of concept identity, the connectedness model (e.g. Schroeter 2012, Schroeter and Schroeter 2014, 2015). Our aim in this chapter is to further explain the motivations behind that account, to address worries about transitivity and vagueness, and to contrast our approach with closely related accounts of concept identity developed by François Recanati and Simon Prosser. -/- What’s distinctive of our approach is that we seek to vindicate the first-person epistemic perspective of concept users. Concepts, on our account, play a crucial normative role in setting regulative ideals for the representational practices in which individual subjects participate. This focus on the normative role of concepts – as opposed to a purely causal explanatory role – motivates our approach to concept identity and our toleration of vagueness and borderline cases. (shrink)

For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared judgment. Even for this reason, (...) they deserve attention. After showing, we will focus on the critics about Adorno’s Theory by the most recent and important scholars. (shrink)

In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...) common characteristics that all musics share in the ordering of successive sounds and silences in movement, pattern, and studied length. And, of course, these sounds and silences must be devised and generated, usually by a person but increasingly by other means, especially electronic. Finally, music has its contexts, the particular occasions when it is produced and heard. Perhaps there is indeed a generic musical art, a common ground where all these disparities come together. (shrink)

The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...) subjective Geist they are related to intuition. Hegel believes that such intuition cannot be properly communicated, due to its exclusive access to the individual subject himself. Despite that, music is an art, and it takes part in the level of absolute Geist. That means that music is the connection between the objective and subjective sides of Geist, being a product of social relations, including the sharing, experience and recognition of subjective operations by the participants in society as something in common. Art is related to intuition but it is not intuition itself, nor it is reduced to the capacity of intuition. All three capacities of the subjective Geist in the theoretical Geist (namely intuition, representation and thinking) can be part of the relationship between art and the individual perspective.However, the link between art and intuition is an analogy between the subjective Geist and the absolute Geist, considering that art is a level of manifestation of social self-consciousness where the people and the social group have not yet become conscious of its content in its manifestation. The exposition of the ideal content of social relations is manifested through absolute Geist, beginning with its sensible manifestation. After this process, it is signified through a practice related to representation, and finally it is related to a conceptually and linguistically mediated practice, philosophy. These products cannot be a consequence of a mere subjective connections, but must be (as part of absolute Geist) a consequence of the objective relation between individuals in its subjective manifestations. Furthermore, subjective capacities are a condition without which the development of the absolute Geist is not possible. At the same time, it is not possible that subjective Geist’s capacities can be fully realized without social relations. Science is not a product of an individual-solipsistic relationship with the environment, but a product of a social relations, including language, shared experiences and shared ways of comprehension, such as the common way to feel and receive the environment in a subjective level discussed below. I divide this exposition into three parts: (1) music and subjectivity, where I deal with the relation between body vibration, time, sound and the formal interiority of the listener/musical subject, analyzing the form of music in its subjective side (the relation to the listener); (2) music and content, where I examine the content generated by music as being the process of formation itself (i.e. the process of given form to the interiority of subjectivity through sounds becomes its own content, namely, the feelings); and (3) music and words, where I scrutinize the relationship between music and words’ capacities to make reference and to have content, considering the connection between pure music and lyrics, and between music and poetry as singular forms of art. I conclude with the idea that music has a specific role in Hegel’s system, which is to bring to light and develop absolute Geist’s (understood as the objectivation and formation of a social and cultural subjectivity) internal aesthetic form. (shrink)

At 287c of the Statesman the Eleatic Visitor — or, more deeply, Plato — faces a daunting task. Because statesmanship has been shown to collaborate with “countless” other arts that share with it the work of “caring” for the city, to understand statesmanship requires distinguishing these arts into an intelligible set of kinds and recognizing how these might go together. Accordingly, the Visitor abandons the mode of division he has practiced without exception up until this moment, bifurcation or “halving,” and (...) offers, instead, a sorting of the arts into fifteen kinds of work. How was Plato able to get his bearings towards the heterogeneous multiplicity of the arts in order to do this sorting? In this paper I suggest that he may have found a paradigm in the double octave matrix of notes from which, according to contemporary musical theory, the seven musical “modes” are drawn. To show the plausibility of this suggestion, I first reconstruct the double octave matrix, which was later to be called the Greater Perfect System, and then show a striking series of points of substantive and structural analogy that hold between this matrix and the Visitor’s division of the arts into fifteen kinds. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...) responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible. (shrink)

What does it mean to say that an emotion can be shared? I consider this question, focusing on the relation between the phenomenology of emotion experience and self-regulation. I explore the idea that a numerically single emotion can be given to more than one subject. I term this a “collective emotion”. First, I consider different forms of emotion regulation. I distinguish between embodied forms of self-regulation, which use subject-centered features of our embodiment, and distributed forms of self-regulation, which incorporate resources (...) beyond the subject. Next, I focus on the latter. After discussing the possibility of musically distributed emotion regulation, I consider interpersonally distributed emotion regulation. I then examine Max Scheler’s (1954) phenomenological characterization of the shared grief experienced by the parents of a recently-deceased child. Drawing on the notion of interpersonally distributed emotion regulation, I argue that, with some further clarifications, Scheler’s example gives us a plausible example of a collective emotion. I conclude by briefly indicating why the notion of collective emotions may be of broader interest to debates in both philosophy of mind and emotion science. (shrink)

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can be compared (...) to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (shrink)

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated (...) marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's book before sketching four (...) recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

In a recent paper, Desmond Hogan aims to explain how Kant could have consistently held that noumenal affection is not only compatible with noumenal ignorance but also with the claim that experience requires causal affection of human cognitive agents by things in themselves. Hogan's argument includes the premise that human cognitive agents have empirical knowledge of one another's actions. Hogan's argument fails because the premise that we have empirical knowledge of one another's actions is ambiguous. On one reading, the argument (...) is valid but its conclusion trivial. On the other, it is unsound on Kant's own view.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.Freedom, Knowledge and Affection: Reply to HoganVolume 18, Issue 1Nicholas Stang DOI: https://doi.org/10.1017/S1369415412000301Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. Freedom, Knowledge and Affection: Reply to HoganVolume 18, Issue 1Nicholas Stang DOI: https://doi.org/10.1017/S1369415412000301Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. Freedom, Knowledge and Affection: Reply to HoganVolume 18, Issue 1Nicholas Stang DOI: https://doi.org/10.1017/S1369415412000301Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

In the second edition Preface of Religion Within the Bounds of Bare Reason Kant responds to an anonymous review of the first edition. We present the first English translation of this obscure book review. Following our translation, we summarize the reviewer's main points and evaluate the adequacy of Kant's replies to five criticisms, including two replies that Kant provides in footnotes added in the second edition. A key issue is the reviewer's claim that Religion adopts an implied standpoint, described using (...) transcendental terminology. Kant could have avoided much confusion surrounding Religion, had he taken this review more seriously. We therefore respond to three objections that Kant failed to address: how the Wille–Willkür distinction enables the propensity to evil to be viewed as coexisting with freedom of choice; how moral improvement is possible, even though the propensity to evil is necessary and universal; and how a ‘deed’ can be regarded as ‘noumenal’.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.The Implied Standpoint of Kant's Religion: An Assessment of Kant's Reply to an Early Book Review of Religion Within the Bounds of Bare ReasonVolume 18, Issue 1Stephen R. Palmquist and Steven Otterman DOI: https://doi.org/10.1017/S1369415412000295Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. The Implied Standpoint of Kant's Religion: An Assessment of Kant's Reply to an Early Book Review of Religion Within the Bounds of Bare ReasonVolume 18, Issue 1Stephen R. Palmquist and Steven Otterman DOI: https://doi.org/10.1017/S1369415412000295Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. The Implied Standpoint of Kant's Religion: An Assessment of Kant's Reply to an Early Book Review of Religion Within the Bounds of Bare ReasonVolume 18, Issue 1Stephen R. Palmquist and Steven Otterman DOI: https://doi.org/10.1017/S1369415412000295Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

Dubljević and company’s proposed approach for incorporating a socio-political perspective into neuroethics has clear potential to help mitigate the effects of research ‘hype’ relating to neuroethics. Their approach serves as a social regulation meant to improve the realizability of neuroethics research. Drawing on Dubljević et al. s suggestion, we consider how incorporating a socio-political perspective in other scientific disciplines could help the scientific community as a whole move beyond the infamous ‘reproducibility crisis’ in science. The reproducibility crisis is a concern (...) in science stemming from the revelation that most scientific results are difficult, or impossible, to replicate (Frias-Navarro et al., 2020). By applying the four principles proposed by Dubljević et al., the scientific community can avoid many of the pitfalls that have led to the reproducibility crisis, such as the file drawer effect, a publication bias preventing negative results from being published, or the publish-or-perish culture - the pressure for scientists to publish highly influential papers in high impact journals in order to keep their funding (Rosenthal, 1979; Begley & Ioannidis, 2015). As such, we argue that, in its final form, this socio-political framework begs for true open science, wherein systematically sharing data would enable enlightened policymaking by showing a picture closer to the ground-level realities of scientific research. (shrink)

The paper deals with the question whether musical works are created or discovered. In the preliminaries some ontological presuppositions concerning the nature of a musical work setting the stage for the whole debate and the Creationist and Platonist views are discussed. The psychological concepts of creation and discovery are distinguished from their ontological counterparts and it turns out that only the ontological ones are relevant in this context and that the Creationist arguments fail to prove the point in question. Finally (...) it is argued that there is not necessaryly a conflict between the positions of the creationist and the Platonist, if they are construed in an appropriate way. The Creationist view that to compose is to create and the Platonist that to compose is to discover are compatible, at least if creation is understood in a quite natural and common sense way. (shrink)

One challenge to the rationality of religious commitment has it that faith is unreasonable because it involves believing on insufficient evidence. However, this challenge and influential attempts to reply depend on assumptions about what it is to have faith that are open to question. I distinguish between three conceptions of faith each of which can claim some plausible grounding in the Judaeo-Christian tradition. Questions about the rationality or justification of religious commitment and the extent of compatibility with doubt look different (...) on accounts of faith in which trust or hope, rather than belief, are the primary basis for the commitments. On such accounts, while the person of faith has a stake in the truth of the content, practical as well as epistemic considerations can legitimately figure in normative appraisals. Trust and hope can be appropriate in situations of recognized risk, need not involve self-deception, and are compatible with the idea that one's purely epistemic opinions should be responsive only to evidence.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.Authentic faith and acknowledged risk: dissolving the problem of faith and reasonVolume 49, Issue 1DANIEL J. MCKAUGHAN DOI: https://doi.org/10.1017/S0034412512000200Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. Authentic faith and acknowledged risk: dissolving the problem of faith and reasonVolume 49, Issue 1DANIEL J. MCKAUGHAN DOI: https://doi.org/10.1017/S0034412512000200Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. Authentic faith and acknowledged risk: dissolving the problem of faith and reasonVolume 49, Issue 1DANIEL J. MCKAUGHAN DOI: https://doi.org/10.1017/S0034412512000200Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

Berkeley in his Introduction to the Principles of Human knowledge uses geometrical examples to illustrate a way of generating “universal ideas,” which allegedly account for the existence of general terms. In doing proofs we might, for example, selectively attend to the triangular shape of a diagram. Presumably what we prove using just that property applies to all triangles.I contend, rather, that given Berkeley’s view of extension, no Euclidean triangles exist to attend to. Rather proof, as Berkeley would normally assume, requires (...) idealizing diagrams; treating them as if they obeyed Euclidean constraints. This convention solves the problem of representative generalization. View HTML Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.Berkeley and Proof in GeometryVolume 51, Issue 3RICHARD J. BROOK DOI: https://doi.org/10.1017/S0012217312000686Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. Berkeley and Proof in GeometryVolume 51, Issue 3RICHARD J. BROOK DOI: https://doi.org/10.1017/S0012217312000686Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. Berkeley and Proof in GeometryVolume 51, Issue 3RICHARD J. BROOK DOI: https://doi.org/10.1017/S0012217312000686Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

The doctrine that Christ is really present in the Eucharist appears to entail that Christ's body is not only multiply located but present in different ways at different locations. Moreover, the doctrine poses an even more difficult meta-question: what makes a theological explanation of the Eucharist a ‘real presence’ account? Aquinas's defence of transubstantiation, perhaps the paradigmatic account, invokes Aristotelian metaphysics and the machinery of Scholastic philosophy. My aim is not to produce a ‘rational reconstruction’ of his analysis but rather (...) to suggest a metaphysically innocent alternative that will ‘save the phenomena’ of religious belief and practice.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.The real presenceVolume 49, Issue 1H. E. BABER DOI: https://doi.org/10.1017/S0034412512000121Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. The real presenceVolume 49, Issue 1H. E. BABER DOI: https://doi.org/10.1017/S0034412512000121Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. The real presenceVolume 49, Issue 1H. E. BABER DOI: https://doi.org/10.1017/S0034412512000121Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

This paper concerns would-be necessary connections between doxastic attitudes about the epistemic statuses of your doxastic attitudes, or ‘higher-order epistemic attitudes’, and the epistemic statuses of those doxastic attitudes. I will argue that, in some situations, it can be reasonable for a person to believe p and to suspend judgment about whether believing p is reasonable for her. This will set the stage for an account of the virtue of intellectual humility, on which humility is a matter of your higher-order (...) epistemic attitudes. Recent discussions in the epistemology of disagreement have assumed that the question of the proper response to disagreement about p concerns whether you ought to change your doxastic attitude towards p. My conclusion here suggests an alternative approach, on which the question of the proper response to disagreement about p concerns the proper doxastic attitude to adopt concerning the epistemic status of your doxastic attitude towards p.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.HIGHER-ORDER EPISTEMIC ATTITUDES AND INTELLECTUAL HUMILITYVolume 9, Issue 3Allan HazlettDOI: https://doi.org/10.1017/epi.2012.11Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. HIGHER-ORDER EPISTEMIC ATTITUDES AND INTELLECTUAL HUMILITYVolume 9, Issue 3Allan HazlettDOI: https://doi.org/10.1017/epi.2012.11Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. HIGHER-ORDER EPISTEMIC ATTITUDES AND INTELLECTUAL HUMILITYVolume 9, Issue 3Allan HazlettDOI: https://doi.org/10.1017/epi.2012.11Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

The so-called ‘mental files theory’ in the philosophy of mind stems from an analogy comparing object-concepts to ‘files’, and the mind to a ‘filing system’. Though this analogy appears in philosophy of mind and language from the 1970s onward, it remains unclear to many how it should be interpreted. The central commitments of the mental files theory therefore also remain unclear. Based on influential uses of the file analogy within philosophy, I elaborate three central explanatory roles for mental files. (...) Next, I outline several common criticisms of the file picture, which have been a source of resistance to the view. Finally, I outline several interpretations of the theory, thus highlighting that the best interpretation of the file-theory's central analogy remains a live issue. (shrink)

Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. For (...) Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach?a differently nuanced model of expert skill aligned with the integrative spirit of the Noices? research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

Existing accounts of shared intention (by Bratman, Searle, and others) do not claim that a single token of intention can be jointly framed and executed by multiple agents; rather, they claim that multiple agents can frame distinct, individual intentions in such a way as to qualify as jointly intending something. In this respect, the existing accounts do not show that intentions can be shared in any literal sense. This article argues that, in failing to show how intentions can be literally (...) shared, these accounts fail to resolve what seems problematic in the notion of shared intention. It then offers an account in which the problem of shared intention is resolved, because intention can indeed be literally shared. This account is derived from Margaret Gilbert’s notion of a “pool of wills,” to which it applies Searle’s definition of intention. (shrink)

What is involved in acting together with others? Most shared agency theorists endorse the Shared Intention Thesis, i.e., the claim that shared agency necessarily involves shared intentions. This article dissents from this orthodoxy and offers a minimalist account of shared agency—one where parties to shared activities need not form rich webs of interrelated psychological states. My account has two main components: a conceptual analysis of shared agency in terms of the notion of plan, and an explanation of undertheorized agency‐sharing mechanisms. (...) My analysis states that we act together just in case our activities conform to a plan and that plan figures in an explanation of our activities’ joint conformity to it. To sloganize:shared activity is plan‐coordinated activity. Sometimes, plan‐coordination goes by way of shared intentions. However, besides shared intentions, there are at least two additional families of agency‐sharing mechanisms. The first features a central planner who determines the content of a plan and attributes the different parts of that plan to a collection of agents. The second does away with the planner and involves a roughly Darwinian selection of patterns of activity. Both families of mechanisms enable us to act together even in the absence of shared intentions. (shrink)

Worldviews are windows to the world. They can be static in referring to visual connotations as suggested by their name, but they can hold a dynamic and genetic view as well. As such, they imply a fundamental cognitive orientation, involving selection, interpretation and interaction with the world. What matters, in this view, is a kind of sense-making or semiotization of the world. -/- The semiotization of the “sonic world”, accordingly, can be approached from different epistemological positions: is music reducible to (...) symbolic labels that function as names, or is it only music when it sounds? And is music to be considered as an artifact that is out there or as something that must be listened to in order to make sense? Rather than joining these discussions, I propose to broaden the focus and to embrace psychological claims as well. Though psychology is not commonly considered as semiotics’ companion theory of truth, there are points of convergence with respect to the hierarchical arrangement of epistemic interactions with the sounds: there is a lower level processing of sensory input (sensation), a somewhat higher level (perception) which involves a first level of sense-making—mostly at a preverbal level—, and a higher level of sense-making which is commonly labeled as cognition. -/- In what follows I will argue for a cumulative model with lower levels not being substituted by higher ones, but with higher levels being superposed on them. Music, in fact, is a sounding art with the richness of it sonorous unfolding as one of its major characteristics. Music processing, therefore, should keep step with the music as it unfolds over time, in a dynamic tension that does justice to the level of sensation as well as to the listener’s continuous epistemic interactions with the sounds. (shrink)

This paper focuses on the view that rationality requires that our credences be regular. I go through different formulations of the requirement, and show that they face several problems. I then formulate a version of the requirement that solves most of, if not all, these problems. I conclude by showing that an argument thought to support the requirement as traditionally formulated actually does not; if anything, the argument, slightly modified, supports my version of the requirement.Send article to KindleTo send this (...) article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.REGULARITY REFORMULATEDVolume 9, Issue 4Weng Hong TangDOI: https://doi.org/10.1017/epi.2012.23Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. REGULARITY REFORMULATEDVolume 9, Issue 4Weng Hong TangDOI: https://doi.org/10.1017/epi.2012.23Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. REGULARITY REFORMULATEDVolume 9, Issue 4Weng Hong TangDOI: https://doi.org/10.1017/epi.2012.23Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

ExtractThis essay is about liberal and conservative views of marriage. I'll begin by mentioning that I would really, really like to avoid use of the terms ‘liberal’ and ‘conservative’, but when push comes to shove, I know of no better labels for the positions that will be discussed in what follows. I would like to avoid these labels for a simple reason: many people strongly self-identify as liberals or as conservatives, and this can undermine our ability to investigate the topic (...) in a sane, rational way. Politics, at least in the contemporary English-speaking world, functions a lot like the world of sports. Many people have a particular team to which their allegiance has been pledged, and the team's successes and failures on the field are shared in the hearts and minds of its loyal followers. In my own case – and here, I ask for your pity – I am a fan of the National Football League's Cleveland Browns. As much as I might wish things were otherwise, I rejoice in the Browns' triumphs and suffer when they lose. I do not wait to see what happens in the game before I decide which team to cheer for; if it's an NFL game, and I see orange and brown, I know where my allegiance lies. Furthermore, I identify with my fellow Browns fans in a way that I cannot identify with followers of, say, the Pittsburgh Steelers. Clevelanders are my people. We share something, and what we share unites us in opposition to Steeler Nation. Their victories are our defeats. It is a zero-sum game: for one of us to win, the other must lose.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.LIBERAL AND CONSERVATIVE VIEWS OF MARRIAGEVolume 12, Issue 34Matthew Carey JordanDOI: https://doi.org/10.1017/S1477175613000067Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. LIBERAL AND CONSERVATIVE VIEWS OF MARRIAGEVolume 12, Issue 34Matthew Carey JordanDOI: https://doi.org/10.1017/S1477175613000067Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. LIBERAL AND CONSERVATIVE VIEWS OF MARRIAGEVolume 12, Issue 34Matthew Carey JordanDOI: https://doi.org/10.1017/S1477175613000067Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

The paper deals with the approaches to researching music from the scientific perspective. It is argued that the scientific literature concerning music contains two different methodological approaches which significantly determine the range of possible conclusions to be reached by the research. The approach „from the outside“ investigates music by automatically applying to music the more general conclusions concerning human cognition and other capacities and behaviors. Thus, this approach omits music’s internal factors. In contrast, the approach „from within“ consists in empirically (...) investigating reactions to music, capacities necessary for its understanding, performing, etc., and their relationships with the reactions and capacities outside the domain of music. The paper shows that, even though the scientific research of music is still in the beginning stage, the approach from within enables more complete explanations concerning music, due to taking into account a larger number of factors relevant for philosophical understanding of the phenomenon of music. (shrink)

Can music be considered a language of the emotions? The most common view today is that this is nothing but a Romantic cliché. Mainstream philosophy seems to view the claim that 'Music is the language of the emotions' as a slogan that was once vaguely defended by Rousseau, Goethe, or Kant, but that cannot be understood literally when one takes into consideration last century’s theories of language, such as Chomsky's on syntax or Tarski's on semantics (Scruton 1997: ch. 7, see (...) also Davies 2003: ch. 8, and Kania 2012). In this chapter, I will show why this common view is unwarranted, and thus go against nowadays philosophical mainstream by defending what I call the musicalanguage hypothesis. In Section 1, I will introduce the musicalanguage hypothesis and present, based on empirical evidence, some of the many similarities between language and music and explain why we should take them seriously. I will introduce a framework that aims to explain the communicative power of music using what we already know about linguistic communication (1.1). I will then outline several working hypotheses about musical grammar, musical meaning, and affective meaning (1.2), and thus defend that music is indeed very close to literally be a language of the emotions. In Section 2, I will detail some of the methodology, expectations, and preliminary results of a cross-cultural study on musical grammar that I am presently conducting between South India (Chennai) and Switzerland (Geneva and Lausanne)4. This empirical study focuses on two musical idioms and their grammatical features: Western classical music of the Common Period (ca. 1600-1900) and South Indian classical music (also know as Carnatic music). The main hypothesis of this study is that you need to master the grammar of a musical idiom in order to properly understand its musical meanings. (shrink)

ExtractIn a democracy people are free to express their opinions and question those of others. This is an important personal freedom, and also essential to the very idea of government by discussion. But it has also been held to be instrumentally important because in open public debate true ideas will conquer false ones by their merit, and the people will see the truth for themselves. In other words, democracy has an epistemic function as a kind of truth machine. From this (...) it follows that in a democracy there should be no dogma: no knowledge protected from public challenge and debate. Yet this whole argument is founded on embarrassing misconceptions of the nature of truth and of the working of democracy.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.DEMOCRACY IS NOT A TRUTH MACHINEVolume 12, Issue 33Thomas WellsDOI: https://doi.org/10.1017/S1477175612000309Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. DEMOCRACY IS NOT A TRUTH MACHINEVolume 12, Issue 33Thomas WellsDOI: https://doi.org/10.1017/S1477175612000309Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. DEMOCRACY IS NOT A TRUTH MACHINEVolume 12, Issue 33Thomas WellsDOI: https://doi.org/10.1017/S1477175612000309Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

ABSTRACT: Neo-sentimentalism is the view that to judge that something has an evaluative property is to judge that some affective or emotional response is appropriate to it, but this view allows for radically different versions. My aim is to spell out what I take to be its most plausible version. Against its normative version, I argue that its descriptive version can best satisfy the normativity requirement that follows from Moore’s Open Question Argument while giving an answer to the Wrong Kind (...) of Reason Objection. Finally, I argue that the circularity that is involved is not vicious: understood epistemically, neo-sentimentalism remains instructive. View HTML Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.Valeurs et émotions, les perspectives du néo-sentimentalismeVolume 51, Issue 1Christine Tappolet DOI: https://doi.org/10.1017/S0012217312000212Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. Valeurs et émotions, les perspectives du néo-sentimentalismeVolume 51, Issue 1Christine Tappolet DOI: https://doi.org/10.1017/S0012217312000212Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. Valeurs et émotions, les perspectives du néo-sentimentalismeVolume 51, Issue 1Christine Tappolet DOI: https://doi.org/10.1017/S0012217312000212Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, and second (...) the noisy listening situation typical to rock or jazz concerts. (shrink)

There are various ways of reducing conflicts and of stabilizing the political situation in states where society is made up of many different ethnic groups and religious communities, and where relations between these segments – or between them and the central government – are tense. A particularly important way is the establishment in those states of a political system based on power-sharing (PS), which allows members of various ethnic and religious segments to take part in the exercise of power. The (...) literature on the subject usually discusses two models of PS: consociationalism and centripetalism. A third model is encountered in practice, however, that of hybrid power-sharing (HPS), which combines the institutions of the first two. The main objective of this article is to explain the nature and origins of HPS. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this purpose, I will (...) rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.

Object files are mental representations that enable perceptual systems to keep track of objects as numerically the same. How is their reference fixed? A prominent approach, championed by Zenon Pylyshyn and John Campbell, makes room for a non-satisfactional use of properties to fix reference. This maneuver has enabled them to reconcile a singularist view of reference with the intuition that properties must play a role in reference fixing. This paper examines Campbell’s influential defense of this strategy. After criticizing it, a (...) new approach is sketched. The alternative view introduces representational contents to explain perceptual individuation. After arguing that those contents are not satisfactional, it is concluded that there is room for a third view of reference fixing that does not fit into the singularist/descriptivist dichotomy. (shrink)

We offer an interpretation of the mental files framework that eliminates the metaphor of files, information being contained in files, etc. The guiding question is whether, once we move beyond the metaphors, there is any theoretical role for files. We claim not. We replace the file-metaphor with two theses: the semantic thesis that there are irreducibly relational representational facts (viz. facts about the coordination of representations); and the metasemantic thesis that processes tied to information-relations ground those facts. In its (...) canonical statement, the ‘file’-theory makes reference to a certain kind of relational representational feature, and a certain kind of mental activity. Mental files need not come into it. In short, we posit mental filing without mental files. Our interpretation avoids awkward problems that arise on the standard interpretation and clarifies the explanatory commitments of the theory. (shrink)

The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, it should answer whether the results (...) of the empirical research contribute to the debates of philosophical aesthetics of music. Each of the three chapters of the dissertation deals with one particular problem in philosophy of music: meaning in music, value of music, and the relationship between music and the emotions. For each particular philosophical problem discussed in these chapters, it is demonstrated that the experimental results provide interesting insights for philosophy of music. It is concluded in the dissertation that philosophers can benefit from examining experimental studies, not only regarding the particular aesthetic theories, but also in regard to the methodological consideration, since the dissertation shows that this kind of interdisciplinary approach uncovers methods useful to philosophers, not commonly available to the armchair philosophical approach. (shrink)

We provide a cognitive analysis of how children represent belief using mental files. We explain why children who pass the false belief test are not aware of the intensionality of belief. Fifty-one 3½- to 7-year old children were familiarized with a dual object, e.g., a ball that rattles and is described as a rattle. They observed how a puppet agent witnessed the ball being put into box 1. In the agent’s absence the ball was taken from box 1, the child (...) was reminded of it being a rattle, and emphasising its being a rattle it was put back into box 1. Then the agent returned, the object was hidden in the experimenter’s hands and removed from box 1, described as a ‘‘rattle,” and transferred to box 2. Children who passed false belief had no problem saying where the puppet would look for the ball. However, in a different condition in which the agent was also shown that the ball was a rattle they erroneously said that the agent would look for the ball in box 1, ignoring the agent’s knowledge of the identity of rattle and ball. Their problems cease with their mastery of second-order beliefs. Problems also vanish when the ball is described not as a rattle but as a thing that rattles. We describe how our theory can account for these data as well as all other relevant data in the literature. (shrink)

This chapter explains the rationale behind the book. It provides basic definitions of the concept of the sharing economy as well as the primary meanings related to the subject of the analysis undertaken in the subsequent chapters. This Introduction also includes a description of the main benefits of the analysis of the sharing economy from a European perspective. It highlights that the idea of the book emerged from the collaboration of most co-authors in the COST Action CA16121 ‘From Sharing to (...) Caring: Examining Socio-Technical Aspects of the Collaborative Economy.’ Finally, the outline of the book is presented, providing a description of the content of each chapter within this academic collection. (shrink)