Aryeh Goldberg compellingly argues for a Narrative Coherence Standard (NCS) to bolster existing methods of assessing patients' mental capacity. But his account fails to distinguish between the cognitive abilities of children and adults; consequently, worries may be raised about the scope of the NCS, in particular when we consider child patients. In this article, I argue the NCS cannot plausibly apply to children. Since children's self-conception does not arrive fully formed — but rather is a product of both incomplete cognitive (...) development and socializing factors — I claim children may not possess a sufficiently intimate knowledge of self, and therefore a sufficiently coherent sense of self, as Goldberg demands. Therefore, we should either revise the NCS to accommodate children, adopt an incremental view of consent, or revert to the relevant form of the MacArthur competence criteria to establish children’s capacity to consent. (shrink)

Ray and Cooper (2024) argue that bioethicists should take environmental justice seriously as a matter of health justice; as part of this project, they defend a legal right to a healthy environment....

The menu-dependent nature of regret-minimization creates subtleties when it is applied to dynamic decision problems. It is not clear whether forgone opportunities should be included in the menu. We explain commonly observed behavioral patterns as minimizing regret when forgone opportunities are present. If forgone opportunities are included, we can characterize when a form of dynamic consistency is guaranteed.

Earthquakes are among the world’s deadliest natural phenomena. On an increasingly crowded Earth, earthquake risk management therefore should be taken seriously as a global policy problem. Thus, this chapter discusses some of the ethical dimensions of earthquakes as a phenomenon of planetary significance in the Anthropocene. I do not attempt an exhaustive survey, but consider one background ethical issue: the kinds of harms that occur when an earthquake impacts human habitation. We may distinguish three categories of human-related harms: personal harms, (...) which accrue to individual humans; social harms, which impact on social relationships between humans; and institutional harms, which compromise the ability of institutions to respond to the quake. This analysis will help us better appreciate the moral salience of earthquakes as a global policy imperative in the Anthropocene. (shrink)

The Adverse Outcome Pathway (AOP) concept is a knowledge assembly and communication tool to facilitate the transparent translation of mechanistic information into outcomes meaningful to the regulatory assessment of chemicals. The AOP framework and associated knowledgebases (KBs) have received significant attention and use in the regulatory toxicology community. However, it is increasingly apparent that the potential stakeholder community for the AOP concept and AOP KBs is broader than scientists and regulators directly involved in chemical safety assessment. In this paper we (...) identify and describe those stakeholders who currently—or in the future—could benefit from the application of the AOP framework and knowledge to specific problems. We also summarize the challenges faced in implementing pathway-based approaches such as the AOP framework in biological sciences, and provide a series of recommendations to meet critical needs to ensure further progression of the framework as a useful, sustainable and dependable tool supporting assessments of both human health and the environment. Although the AOP concept has the potential to significantly impact the organization and interpretation of biological information in a variety of disciplines/applications, this promise can only be fully realized through the active engagement of, and input from multiple stakeholders, requiring multi-pronged substantive long-term planning and strategies. (shrink)

Though scholars of Chinese Theology have expanded the inter-religious dialogue between Christian theology and traditional Chinese philosophy and culture from Neo-Confucianism to other fields such as Taoism, the dialogue with Chinese Buddhism, especially Chan Buddhism, has not been carried out yet. This article mainly reflects on the starting point of Leung In-sing’s Chinese Theology through the perspective of Dharma as Nonduality in Chan. Firstly, it briefly outlines the background and basic ideas of Chinese Theology formulated by Leung (...) In- sing, focusing on discussing the two fundamental theological categories: “Relationship” and “Rapport.” Then, it annotates and analyzes Huineng’s“Dharma as Nonduality.”Finally, from the perspective of Huineng, it rethinks the starting point of Chinese Theology itself and proposes further research questions. (shrink)

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

In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: (...) It is wrong to enjoy evil whether real or merely fiction. I develop my position through an examination of the controversially song "Mind of a Lunatic" (1990) by the Houston based rap group Geto Boys. (shrink)

Some have suggested that certain classical physical systems have undecidable long-term behavior, without specifying an appropriate notion of decidability over the reals. We introduce such a notion, decidability in (or d- ) for any measure , which is particularly appropriate for physics and in some ways more intuitive than Ko's (1991) recursive approximability (r.a.). For Lebesgue measure , d- implies r.a. Sets with positive -measure that are sufficiently "riddled" with holes are never d- but are often r.a. This explicates Sommerer (...) and Ott's (1996) claim of uncomputable behavior in a system with riddled basins of attraction. Furthermore, it clarifies speculations that the stability of the solar system (and similar systems) may be undecidable, for the invariant tori established by KAM theory form sets that are not d-. (shrink)

The various ways whereby spatial conditions afford to monumentalize culture and to appropriate geographically demarcated places in terms of individual and collective meaning structures has been amply documented in urban cultural studies. However, considerably less attention has been paid to how cultural identity is produced against the background of musical temporality. By way of a phenomenological inquiry into the staged spectacle of James Corden’s (the host of CBS Network’s Late Late Show) Carpool Karaoke, this paper addresses the issues of directly (...) lived experience and authenticity as facets of cultural identity. By critically discussing the assumptions of self-presence and auto-affectivity while singing and listening to one’s sung voice against the background of pre-recorded songs, the notion of directly lived musical experience is put to the test. Furthermore, by examining the dramaturgical scaffolding of Carpool Karaoke, the analysis points to wider implications for post-modern cultural studies in terms of an identified ironic reversal of modernist universal criteria of legitimacy in favor of a celebration of postmodern being-with inauthentically. The analysis of the selected Carpool Karaoke corpus utilizes a resourceful blend of phenomenological method, semiotics and interpretive videography while challenging embedded orthodoxies in the extant literature. (shrink)

Starting from Jaspers’ analysis of attitudes in Psychologie der Weltanschauungen and analyzing their causes, we find an essential description of the human being. The human condition of being in the world (Heidegger, Jaspers) can be troubled (Freud, Jung). However, this is characteristic for human life (Jaspers, Schellenbaum). Among all attitudes, the enthusiastic one is the more consistent with human being’s dynamic nature (Bergson, Jaspers, Schellenbaum). The human being feels himself deeply touched (Scheler, Jaspers) and becomes stunned. The aim of the (...) paper is to show that the enthusiastic view is well exposed by the act of singing. Traditionally analysed in connection with art (Cassirer, Solger, Wackenroder), the enthusiastic view gives us a “sound image” of the human being since his childhood (Gehlen, Leydi). In everyday life and by all its difficulties (Freud, Jung, Schellenbaum, Jaspers), the human being discloses his nature in acoustic manifestations (Keil, Kafka, Wackenroder) by expressing the enthusiastic mode. (shrink)

The word data (sing. datum) is originally Latin for “things given or granted”. Because of such a humble and generic meaning, the term enjoys considerable latitude both in its technical and in its common usage, for almost anything can be referred to as a “thing given or granted” (Cherry [1978]). With some reasonable approximation, four principal interpretations may be identified in the literature. The first three captures part of the nature of the concept and are discussed in the next (...) section. The fourth is the most fundamental and satisfactory, so it is discussed separately, in section three. On its basis, some further clarifications about the nature of data are introduced in sections four to six. A reminder about the social, legal and ethical issues raised by the use of data concludes this entry. (shrink)

There is no uniquely standard concept of an effectively decidable set of real numbers or real n-tuples. Here we consider three notions: decidability up to measure zero [M.W. Parker, Undecidability in Rn: Riddled basins, the KAM tori, and the stability of the solar system, Phil. Sci. 70(2) (2003) 359–382], which we abbreviate d.m.z.; recursive approximability [or r.a.; K.-I. Ko, Complexity Theory of Real Functions, Birkhäuser, Boston, 1991]; and decidability ignoring boundaries [d.i.b.; W.C. Myrvold, The decision problem for entanglement, in: R.S. (...) Cohen et al. (Eds.), Potentiality, Entanglement, and Passion-at-a-Distance: Quantum Mechanical Studies fo Abner Shimony, Vol. 2, Kluwer Academic Publishers, Great Britain, 1997, pp. 177–190]. Unlike some others in the literature, these notions apply not only to certain nice sets, but to general sets in Rn and other appropriate spaces. We consider some motivations for these concepts and the logical relations between them. It has been argued that d.m.z. is especially appropriate for physical applications, and on Rn with the standard measure, it is strictly stronger than r.a. [M.W. Parker, Undecidability in Rn: Riddled basins, the KAM tori, and the stability of the solar system, Phil. Sci. 70(2) (2003) 359–382]. Here we show that this is the only implication that holds among our three decidabilities in that setting. Under arbitrary measures, even this implication fails. Yet for intervals of non-zero length, and more generally, convex sets of non-zero measure, the three concepts are equivalent. (shrink)

In a new paper in recent issue of this journal (PSTJ), Prof. M. Pitkanen describes a solar system model inspired by spiral galaxies. While we appreciate his new approach, we find it lacks substantial discussion on the nature of vortices and chirality in galaxy. Therefore we submit a viewpoint that Gross-Pitaevskii model can be a more complete description of both solar system and also spiral galaxies, especially taking into account the nature of chirality and vortices in galaxies. In this article, (...) we also hope to bring out some correspondence among existing models, so we discuss shortly: the topological vortice approach, Burgers equation in the light of KAM theory, and the Cantorian Navier-Stokes approach. Of course, this short article is far from being complete. We hope further investigation can be done around this line of approach. Aim of this paper: With this article, we hope to begin a healthy dialogue with Prof. M. Pitkanen, especially on his solar system model, since we also believe that he also support “evidence-based physics.” Limitation: In this paper we only discuss Pitkanen’s solar system model, we don’t discuss his other papers in a recent issue of PSTJ. (shrink)

Spätestens seit es in der Kunst außer Mode kam, das Wort Schönheit einzusetzen, begannen die Physiker, ihre Arbeitsergebnisse schön zu nennen. Sie sagen z.B.: Wenn eine Theorie schön ist, so spricht das für die Wahrheit der Theorie. Und sie streben nach schönen Experimenten. Was ist damit gemeint? Definieren lässt sich dieser Begriff genauso wenig wie für Kunstwerke. Daher erläutere ich ihn anhand optischer Experimente Newtons, Goethes und aus neuerer Zeit. Man kann z.B. zeigen, dass die Weißsynthese des Desaguliers schöner ist (...) als Newtons Weißsynthese und dass den vielfältigen Farbsynthesen des Wiener Malers und Farbexperimentators Ingo Nussbaumer noch höherer ästhetischer Wert zukommt. Aus alledem ergibt sich eine tentative Liste von Kriterien (die sich freilich nicht in einen idiotensicheren Bewertungs-Algorithmus einspeisen lassen, sondern Urteilskraft verlangen): Sauberkeit, Einfachheit, intellektuelle Klarheit und Symmetrie sind Merkmale schöner Experimente – und diese Merkmale sind z.B. auch bei der ästhetischen Beurteilung mancher (wenn auch nicht aller) Musikstücke relevant. Daher liegt es nahe zu vermuten, dass sich unsere ästhetische Urteilskraft – in so verschiedenen Bereichen wie Optik und Musik – verwandter begrifflicher Werkzeuge bedient. (shrink)

Proza e shkurtër në këtë vëllim, e ribashkuar nën titullin „Me duar në xhepa të qepur”, tërheq konflikte midis ekzistencës dhe thelbit, duke projektuar ngërçe, aporie identitare dhe shëmbëlltyra komunikimi. 1-0 (?) është një satirë për futbollin dhe aranzhimet - në favor të skuadrave apo lojtarëve të caktuar - që u prodhuan intensivisht gjatë periudhës socialiste, të dominuara nga gënjeshtra, mistifikimi dhe faji. GIONÍ diskuton për komplekset adoleshente-adoleshente të disa krijesave me status të pasigurt, të përhumbur nga dështimi dhe dështimi, (...) të cilat autori, në frymën amerikane, i shpëton në fund, duke i dërguar në punë (pa na shpjeguar sesi do të ishte i mundur shpëtimi ontologjik). Mekanizmi epik në XHAMANTANI BOJËALLI duket i huazuar nga Mircea Eliade, i zbatuar vetëm në dimensione deterministe, ndër të cilat zbulimi I paautenticitetit të një martese është më pak problematik. Tek KU ISHA NË VEND, strategjitë e fiksionit autobiografik funksionojnë me mjeshtëri, autori rikujtues na çon nëpër labirintin e fatit drejt arratisjes në brendësi. Katër tekstet e fundit (në anglisht) janë drafte për më vonë. Një sërë ilustrimeve mbështesin tekstet dhe, në tensionin e ideve, gjarpërimet e rrëfimit të Florentin Smarandache befasojnë këndshëm, duke shkaktuar keqardhje që autori, shumë më i tërhequr nga shkenca, por edhe nga avangarda, nuk kërkonte një konservator fati letrar në prozë. Kam bindjen se do të jetë një sukses. (shrink)

Статтю присвячено аналізові церковно-музичних книг василіянських монастирів Руської провінції другої половини XVIII — початку ХІХ ст. На підставі монастирських інвентарів висвітлюється діяльність друкарні Почаївського василіянського монастиря, яка, серед іншого, спеціалізувалася на виданні музичних книг, зокрема Ірмолоїв— поліжанрових збірників, що властиві українському типові церковно-співочої книги. У статті наголошено також на ролі Василіянського Чину в поширенні західно-християнських культурних впливів упродовж другої половини XVIII cт.

Mit dem Werk des österreichischen Dichters kam Witold Hulewicz ziemlich früh in Berührung. Fasziniert von dessen Dichtkunst, nahm er mit Rilke Briefkontakte auf. Die Korrespondenz belebte sich wesentlich, als Hulewicz an den ersten Üb ertragungen ins Polnische arbeitete. Im vorliegenden Artikel bemüht sich die Autorin nicht nur die freundschaftlichen Kontakte darzustellen, sondern auf die Rolle Hulewiczs als Übersetzer und Verbreiter des Rilkschen Werkes in Polen hinzu weisen.

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I (...) give a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

A woman is listening to Sinatra before work. As she later describes it, ‘suddenly from nowhere I could hear my mother singing along to it … I was there again home again, hearing my mother … God knows why I should choose to remember that … then, to actually hear her and I had this image in my head … of being at home … with her singing away … like being transported back you know I got one of those (...) … like shivery feelings really suddenly’ (Anderson 2004, 9-10). An older couple, discussing their honeymoon forty years ago, each say that they can’t remember the show they saw, until through iterative, puzzled cross-cuing they finally get there – ‘Desert Song, that’s it’ (Harris et al 2011, 292). An elderly English veteran of a prisoner of war camp in Japan, finishing up morning tea with a young Japanese social scientist interested in reconciliation, suddenly calls out loudly - in Japanese - ‘stand to attention’. He stands to attention in front of her: like many of the men she interviews, he physically re-enacts fragments of that long-past world of the camp, bringing that absent past into this new present context with a visceral shock (Murakami 2001, 2012; Middleton & Brown 2005, 133-136). (shrink)

Gases reach equilibrium when left to themselves. Why do they behave in this way? The canonical answer to this question, originally proffered by Boltzmann, is that the systems have to be ergodic. This answer has been criticised on different grounds and is now widely regarded as flawed. In this paper we argue that some of the main arguments against Boltzmann's answer, in particular, arguments based on the KAM-theorem and the Markus-Meyer theorem, are beside the point. We then argue that something (...) close to Boltzmann's original proposal is true for gases: gases behave thermodynamic-like if they are epsilon-ergodic, i.e., ergodic on the entire accessible phase space except for a small region of measure epsilon. This answer is promising because there are good reasons to believe that relevant systems in statistical mechanics are epsilon-ergodic. (shrink)

My topic in this paper is the nature of faith. Much of the discussion concerning the nature of faith proceeds by focussing on the relationship between faith and belief. In this paper, I explore a different approach. I suggest that we approach the question of what faith involves by focussing on the relationship between faith and action. When we have faith, we generally manifest it in how we act; we perform acts of faith: we share our secrets, rely on other’s (...) judgment, refrain from going through our partner’s emails, let our children prepare for an important exam without our interference. Religious faith, too is manifested in acts of faith: attending worship, singing the liturgy, fasting, embarking on a pilgrimage. I argue that approaching faith by way of acts of faith, reveals that faith is a complex mental state whose elements go beyond doxastic states towards particular propositions. It also involves conative states and – perhaps more surprisingly – know how. This has consequences for the epistemology of faith: the role of testimony and experts, the importance of practices, and what we should make of Pascal’s advice for how to acquire faith. (shrink)

It is common for young Christians to go off to college assured in their beliefs but, in the course of their first year or two, they meet what appears to them to be powerful defenses of scientific naturalism and crushing critiques of the basic Christian story (BCS), and many are thrown into doubt. They think to themselves something like this: "To be honest, I am troubled about the BCS. While the problem of evil, the apparent cultural basis for the diversity (...) of religions, the explanatory breadth of contemporary science, naturalistic explanations of religious experience and miracle reports, and textual and historical criticism of the Bible, among other things, don’t make me believe the BCS is false , I am in serious doubt about it, so much so that I lack belief of it. In that case, how can I have Christian faith? And if I don’t have faith, how can I keep on praying, attending church, affirming the creed, confessing my sins, taking the sacraments, singing the hymns and songs, and so on? I can’t, unless I’m a hypocrite. So integrity requires me to drop the whole thing and get out." Of course, our student is not alone. Many Christians find themselves for some portion of their lives somewhere on the trajectory from doubt to getting out. Indeed, Christians in the West struggle with intellectual doubt more than they used to, especially university-educated Christians. What should we say to them? Some will say “Get out!,” welcoming the development as a path to liberation. We explore a different response in this essay. (shrink)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to (...) their parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

The paper provides a taxonomy of group speech acts whose main division is that between collective speech acts (singing Happy Birthday, agreeing to meet) and group proxy speech acts in which a group, such as a corporation, employs a proxy, such as a spokesperson, to convey its official position. The paper provides an analysis of group proxy speech acts using tools developed more generally for analyzing institutional agency, particularly the concepts of shared intention, proxy agent, status role, status function, convention (...) and constitutive rule. (shrink)

Tim Crane maintains that beliefs cannot be conscious because they persist in the absence of consciousness. Conscious judgments can share their contents with beliefs, and their occurrence can be evidence for what one believes; but they cannot be beliefs, because they don’t persist. I challenge Crane’s premise that belief attributions to the temporarily unconscious are literally true. To say of an unconscious agent that she believes that p is like saying that she sings well. To say she sings well is (...) to say that when she sings, her singing is good. To say that she believes that p is to say that when she consciously considers the content that p she consciously affirms it. I also argue that the phenomenal view of intentional content Crane appears to endorse prima facie commits him to the view, at least controversial, perhaps incoherent, that there is unconscious phenomenology. Keywords : Belief; Consciousness; Unconscious; Intentional Content; Judgment. Credenze coscienti Riassunto: Tim Crane sostiene che le credenze non possano essere coscienti, dal momento che perdurano anche in assenza di coscienza. I giudizi formulati consapevolmente possono condividere i loro contenuti con le credenze e il loro verificarsi può essere una forma di evidenza a supporto di quanto uno crede. E tuttavia essi non possono essere credenze, dal momento che non perdurano. Nel commento metto in discussione la premessa di Crane secondo cui porre l’attribuzione di credenze su un piano temporaneamente inconscio sia vero in senso letterale. Dire di un agente non cosciente che esso creda che p è come dire che canti bene. Dire che canti bene è dire che quando canta, il suo canto è buono. Dire che crede che p è dire che quando considera consapevolmente il contenuto p costui lo afferma consapevolmente. Inoltre intendo affermare che la visione fenomenica del contenuto intenzionale che Crane sembra abbracciare lo impegni prima facie nei confronti della prospettiva, quantomeno controversa e probabilmente incoerente, secondo cui esisterebbe una dimensione fenomenica inconscia. Parole chiave: Credenza; Coscienza; Inconscio; Contenuto intenzionale; Giudizio. (shrink)

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing literature’s (...) exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)

Thе еxprоpriаtiоn оf аgriculturаl lаnd tо prоvidе nеw lаnd fоr industriаl аnd urbаn еxpаnsiоn, rеfеrrеd tо аs cоmpulsоry аcquisitiоn, is prеvаlеnt in dеvеlоping cоuntriеs. Using Viеtnаm аs а lаbоrаtоry, this study еvаluаtеs thе impаcts оf lоsing fаrmlаnd thrоugh cоmpulsоry аcquisitiоn оn hоusеhоld wеlfаrе аnd rеаchеs thе fоllоwing findings. A 10 pеrcеntаgе pоint incrеаsе in thе prоpоrtiоn оf lаnd еxprоpriаtеd rеsults in а 2.2% dеcrеаsе in hоusеhоld wеlfаrе prоxiеd by fооd еxpеnditurе. Bеsidеs, pоliticаlly uncоnnеctеd аnd еthnic minоrity hоusеhоlds аrе disprоpоrtiоnаtеly vulnеrаblе. (...) Thе аdvеrsе wеlfаrе еffеct cоuld tаkе up tо 10 yеаrs tо еvаpоrаtе. Thе rеductiоn in hоusеhоld wеlfаrе is аttributаblе tо thе dеclinе in аgriculturаl incоmе аnd thе inаbility tо pаrticipаtе in thе nоn-аgriculturаl lаbоr mаrkеt. Othеr аspеcts оf hоusеhоld bеhаviоr fоllоwing cоmpulsоry аcquisitiоn аrе аlsо еxplоrеd, such аs sаving, sоciаl cаpitаl, lаbоr, аnd cаpitаl аllоcаtiоn. (shrink)

In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The first (...) part of this paper points to the limits of an understanding of atmosphere as a constellation of things, as proposed by Gernot Böhme. In contrast to this, Hermann Schmitz conceptualises atmosphere as half-thing which suggests movement. Drawing on this, I propose to methodologically approach atmospheres as movements. Consequently, in the second part of this paper I closely analyse two motions as they cohere in Closed Brethren worship services: first, becoming (Deleuze and Guattari), a movement on the level of the individual worshiper; secondly, territorialisation (Deleuze and Guattari), a movement of the atmosphere towards its solidification. Here music as atmosphere is not a system of moral signification but a generative power affording intimate processes of divine encounter, whilst producing affective denominational difference. (shrink)

Here, I explore a modernist aesthetics of death metal. First, I briefly describe a few themes that characterize some modern art, without any claim that they are necessary, sufficient, or exhaustive. The goal is to obtain a set of themes that might be set against similar themes characteristic of death metal. This is the task in the second half of the paper. In particular, I argue that (some) modernist art and death metal share themes centered on transgressively breaking with the (...) past, pursue their conception of the truth, eliminate elements in their art form to purity them, and attack the art/non-art or music/non-music distinction. I contend that centering on death metal vocals reflects these themes. Death metal growls, like some modernist art, transgresses on past vocal traditions, tells us important truths, eliminates traditional concepts/techniques of signing, and undermines the singing/noise distinction. (shrink)

The conditions of hunting and gathering through which one line of primates evolved into humans form the basis of what I term the wild self, a self marked by developmental needs of prolonged human neoteny and by deep attunement to the profusion of communicative signs of instinctive intelligence in which relatively “unmatured” hominids found themselves immersed. The passionate attunement to, and inquiry into, earth-drama, in tracking, hunting, foraging, rhythming, singing, and other arts/sciences, provided the trail to becoming human, and provide (...) external grammatical structures that became the basis of human language and animate mind. I outline my new philosophy of history as a progress in precision, counteracted by a regressive contraction of mind. The progress associated with history since the beginning of agriculturally-based civilizations can be considered as a regressive contraction from animate mind of our hunter-gatherer evolutionary past, to anthropocentric mind, and finally to the ghost in the machine world-view of mechanico-centric mind. Contemporary consumption culture represents an inversion of the original conditions of the human self, and indeed, targets aspects of developmental neoteny to condition conformity to its rational-mechanical system imperatives. (shrink)

Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art (...) such as painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life. (shrink)

Suppose that a sign at the entrance of a hotel reads: “Don’t enter these premises unless you are accompanied by a registered guest”. You see someone who is about to enter, and you tell her: “Don’t enter these premises if you are an unaccompanied registered guest”. She asks why, and you reply: “It follows from what the sign says”. It seems that you made a valid inference from an imperative premise to an imperative conclusion. But it also seems that imperatives (...) cannot be true or false, so what does it mean to say that your inference is valid? It cannot mean that the truth of its premise guarantees the truth of its conclusion. One is thus faced with what is known as “Jørgensen’s dilemma” (Ross 1941: 55-6): it seems that imperative logic cannot exist because logic deals only with entities that, unlike imperatives, can be true or false, but it also seems that imperative logic must exist. It must exist not only because inferences with imperatives can be valid, but also because imperatives (like “Enter” and “Don’t enter”) can be inconsistent with each other, and also because one can apply logical operations to imperatives: “Don’t enter” is the negation of “Enter”, and “Sing or dance” is the disjunction of “Sing” and “Dance”. A standard reaction to this dilemma consists in basing imperative logic on analogues of truth and falsity. For example, the imperative “Don’t enter” is satisfied if you don’t enter and is violated if you enter, and one might say that an inference from an imperative premise to an imperative conclusion is valid exactly if the satisfaction (rather than the truth) of the premise guarantees the satisfaction of the conclusion. But before getting into the details, more needs to be said on what exactly imperatives are. (shrink)

Thе еxprоpriаtiоn оf аgriculturаl lаnd tо prоvidе nеw lаnd fоr industriаl аnd urbаn еxpаnsiоn, rеfеrrеd tо аs cоmpulsоry аcquisitiоn, is prеvаlеnt in dеvеlоping cоuntriеs. Using Viеtnаm аs а lаbоrаtоry, this study еvаluаtеs thе impаcts оf lоsing fаrmlаnd thrоugh cоmpulsоry аcquisitiоn оn hоusеhоld wеlfаrе аnd rеаchеs thе fоllоwing findings. A 10 pеrcеntаgе pоint incrеаsе in thе prоpоrtiоn оf lаnd еxprоpriаtеd rеsults in а 2.2% dеcrеаsе in hоusеhоld wеlfаrе prоxiеd by fооd еxpеnditurе. Bеsidеs, pоliticаlly uncоnnеctеd аnd еthnic minоrity hоusеhоlds аrе disprоpоrtiоnаtеly vulnеrаblе. (...) Thе аdvеrsе wеlfаrе еffеct cоuld tаkе up tо 10 yеаrs tо еvаpоrаtе. Thе rеductiоn in hоusеhоld wеlfаrе is аttributаblе tо thе dеclinе in аgriculturаl incоmе аnd thе inаbility tо pаrticipаtе in thе nоn-аgriculturаl lаbоr mаrkеt. Othеr аspеcts оf hоusеhоld bеhаviоr fоllоwing cоmpulsоry аcquisitiоn аrе аlsо еxplоrеd, such аs sаving, sоciаl cаpitаl, lаbоr, аnd cаpitаl аllоcаtiоn. (shrink)

The poem, has also highlighted the theme of isolation. The Darkling Thrush is the symbol of perseverance. Men at times is all by himself. There is none around. The frail, gaunt, aged , weather-beaten bird has stood against all odds. There is an air of self doubt and the poet is in a dilemma how to welcome the advent of a new era. It has endured all the odds of time and is happy today singing its joyful song.

This chapter argues that the Earth King of Ba Sing Se, King Kuei, willfully maintained ignorance of the true state of his kingdom so that he could enjoy the privileges that came with his position, while remaining derelict in his duty to his people. The King maintains this ignorance at the expense of his people, both by condoning certain urban designs and by resisting knowledge that upsets his lifestyle. When the Avatar team first arrive at Ba Sing Se (...) in “City of Walls and Secrets,” Joo Dee tells them that the city has many walls and each wall serves a purpose, but people know there is more to the walls than their utility. This chapter looks at the ways that urban design promote artificial social homogeneity and prevent cross‐economic and cultural socialization. (shrink)

The disciplinary differentiation of sciences attracted Leibniz’s attention for a long period of time. From nowadays prospects it looks very well grounded as soon as in Leibniz’s manuscripts a modern scholar finds clue ideas of any research field which would tempt him to consider Leibniz as one of the founders of this particular discipline. We argue that this is possible only in retrospection and would significantly distort the essence of Leibniz’s epistemology. Our approach implies, in contrary, the investigation of the (...) Leibniz doctrine of signs on the background of the related philosophical problem, that of expression. The choice of semiotics is justified by the fact that it took a central place in his theoretical constructions, both those of natural sciences and of philosophy. In Leibniz system of knowledge the concept of notes (notae) and sings (signa) served a theoretical foundation of his most important and long-life aspiration to build up practical science of universal characteristics (characteristica universalis). In his eyes this practical science was the science of sciences (Scientia scientiarum), and we can consider it as the matrix for all possible scientific knowledge. (shrink)

When William James published Pragmatism, he gave it a subtitle: A New Name for Some Old Ways of Thinking. In this article, I argue that pragmatism is an epistemological method for articulating success in, and between, a plurality of practices, and that this articulation helped James develop radical empiricism. I contend that this pluralistic philosophical methodology is evident in James’s approach to philosophy of religion, and that this method is also exemplified in the work of one of James’s most famous (...) students, W.E.B. Du Bois, specifically in the closing chapter of The Souls of Black Folk, “Of the Sorrow Songs.” I argue that “Sorrow Songs” can be read as an epistemological text, and that once one identifies the epistemic standards of pragmatism and radical empiricism in the text, it’s possible to identify an implicit case for moderate fideism in “Sorrow Songs.” I contend that this case illuminates the pluralistic philosophical methodology James worked throughout his career to develop, and that the James-Du Bois approach to philosophy may even help locate the epistemic value of other religious practices, beyond the singing of hymns, and identify terrain mainstream philosophy has long neglected. (shrink)

Ayurveda is the science of living being. With the aim of health and procurement of disease it almost covers all facets of life. It includes health of an individual at physical, mental, spiritual, social level. Ayurvedic classics includes brihatrayee samhita like Charak, Sushruta and Ashtanga Hridaya. A review based study of music (geet, sangeet) was done in these classics to explore whether these classics includes any form of music as therapy or not. Based on review of these classics it was (...) found that music in form of geet (vocal or instrument) has been given in contexts like vajikara(aphrodisiac), vata/pitta prakriti (basic consititutional make up), gandharva sattva, madyapana (intake of alcohol), therapy for rajyakshma (immune deficiency diseases), sanyasa (syncope/coma), jivadan (haemetemesis) etc. various swara have been correlated with their pacifying power of three sharirikadoshas viz. vata, pitta and kapha. Also a relationship between various raga of indian classical music have been said to be based on time of its singing which may be used as a therapy to pacify the dearrangement of prevalent doshas. several articles have shown music as therapy in sleep disorder, psychiatric disorders, schizophrenia, cardiovascular, cancer etc. with this paper a perspective of Ayurveda have been explored in music therapeutics. (shrink)

Autorka nawiązuje do artykułu J.F. Lyotarda „A Few Words to Sing” w której filozof podejmuje się analizy utworu Sequenza III Luciano Berio napisanego i śpiewanego przez Cathy Bereberian. „A Few Words to Sing” jest przykładem podejmowania przez Lyotarda tematów muzycznych „na granicy”. W tym konkretnym przypadku autorka sugeruje, że wspomniana analiza bardzo dobrze wpisuje się w postulowane przez Lyotarda kategorie figury oraz oddania głosu [ofierze] w opozycji wobec tego co [czysto]estetyczne (resisting the aesthetic). Zainteresowania muzyczne Lyotarda, być może (...) nie tak wyeksponowane jak jego zainteresowania obrazem (choć kategorie figury i gestu okazują się łatwo przekraczać granice rodzajów sztuki) także bardzo wyraźnie wskazują na szczególny rodzaj [anty]estetyki uprawiany przez Lyotrada, gdzie udzielenie głosu ofierze staje się istotnym, jeśli nie podstawowym kryterium sztuki. (shrink)

“It’s so hard to be a saint in the city,” sings Bruce Springsteen in a ballad released 35 years ago. Judging from the national popular sentiment about the matter, he could have been talking about the complexity of being a philosopher in Turkey.

Dr. B. R. Ambedkar is one of the most eminent intellectual figures of modern India. The present year is being celebrated as 125th Birth Anniversary of Dr. B. R. Ambedkar. Educationist and humanist from all over the world are celebrating 125th Birth Anniversary of Dr. B. R. Ambedkar by organizing various events and programmes. In this regard the Centre for Positive Philosophy and Interdiscipinary Studies (CPPIS) Pehowa (Kurukshetra) took an initiative to be a part of this mega event by organizing (...) an national level esssay competition for students, publication of books, posters and research journals on Dr. B.R. Ambedkar. Dr. B.R. Ambedkar’s ideas, writings and outlook could well be characterized as belonging to that trend of thought called Social Humanism. He developed a socio-ethical philosophy and steadfastly stood for human dignity and freedom, socio-economic justice, material prosperity and spiritual discipline. He showed the enlightening path for Indian society via his ideals of freedom, equality and fraternity and made India a democratic country. The complete works of Dr. B.R. Ambedkar published by the Governemtn of Maharastra and it has taken about 25 years to complete this initiative in 21 Volumes with the name, “Dr. Babasaheb Ambedkar: Writing and Speeches” and covers 14000 pages. In the words of Trilochan Sing, “Above all, Dr. Ambedkar is a philosopher. Those who read his books cannot be failed to be impressed with steadffastness with which he pursues truth; and only those who have dispassionately read his books can frame true estimate of the greatness of the man”. These 21 Volumes includes books published by Dr. B.R. Ambedkar himself and unpublished writings and speaches too. The present volume entitled “Dr. B.R. Ambedkar: The Maker of Modern India” contains 12 research papers on the different aspects of philosophy of Dr. B.R. Ambedkar written by academicians from different branches of knowledge. You can find a variety of dialogues and concen about the theme of the book here. We are not defending this book as a highly an intellectual work but a smaller step to know the various aspects of this great personality and is a start to study his vast wisdom. You suggestions and comments are welcome to its first hand review version. (shrink)

“Only those who have lived among the birds could truly appreciate the magic of their singing. At daybreak, the bushes and the alley corners would all be drenched in a vibrant chorus of birdsongs. The whole scene is exhilarating, exuding the mysterious vibes of a major orchestra.” -/- —In “Conductor”; The Kingfisher Story Collection [1].

Le film d’animation de Jean-François Laguionie "Le voyage du prince" (2019), d’après "Le château des singes" (1999) du même réalisateur, inspiré du livre "Le baron perché", d’Italo Calvino (1957), est marqué par une prégnance végétale forte. Le film nous invite dans un monde de fiction, dans lequel les singes sont l’espèce animale principale – évoquant les humainsles humains les humainsles humains les humainsles humains les humains – représentée à travers des peuples aux modes de vie contrastés. Le monde végétal est (...) présent dans toute sa diversité, et dans la richesse des transactions qui s’établissent entre les espèces. Pourrions-nous alors inventer et réinventer la "nature" ? Nous sommes invités, en suivant le baron et la façon dont le film s’en inspire, à contempler et questionner notre lien aux plantes. Comment les transactions établies avec elles et avec le reste du vivant font-elles le monde ? C’est ce que nous tenterons d’approcher. (shrink)

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds singing to be (...) the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

Can words – rather than a State – constitute a country? It may be made of land, rivers, forests or deserts – yet, without its inhabitants’ words, there would be no map to draw, no tale to sing, no country to speak of. Palestinian tales abound. They speak of departed lands, vanished homes, forfeited livelihoods. They lament internal wrangling, squeal occupational anger, seek to whisper away those quotidian checkpoint humiliations. Yet, they also speak of hope. If there ever were (...) such a thing as “authoritative hope”, the ongoing Palestinian constitution drafting process may be it. But hope cannot be formalized, let alone authorized. And there is some danger in pretending otherwise. (shrink)

The common 4th century B.C. view according to which Homer was regarded as a poet and a wise man, the leading and most honorable, to the point of being considered “the educator of Greece” (Pl. Resp. 606e-607a), is strongly supported by the Platonic dialogues. The works of Plato are the main available source to get to know not only the great pedagogical esteem for Homer, but also the several educational traditions that used or relied on Homeric poetry in Classical Athens. (...) We are certainly used to thinking of Socrates as standing out for contesting or blaming such customs and methods provided by rhapsodes, sophists and common people (Pl. Resp.; Ion; Hp. mi.). But conversely, he is also often depicted quoting, alluding to or remaking on Homeric passages when presenting his own views. Socrates even claims to feel a certain friendship or reverence for the poet and declares to be charmed by contemplating things through him, whom he considers to be amongst the few deserving to be called “philosophers” (Pl. Resp. 595b; 607c-d; Phdr. 278b-279b). The puzzling twofold nature of the Socratic attitude towards Homer, coupled with the fact that Plato would become a figure as honored as the poet was, led ancient literary criticism to focus on the Platonic use and sharing of material and techniques proper to Homeric poetry. Works like those of Dionysius of Halicarnassus, Maximus of Tyre, Longinus and above all Proclus, not only pointed out the philosopher’s debt to the poet, but even considered him to be an admirer of the Homeric genius unlike anyone else, and whose emulation basically attempted to reach and outperform the pedagogical power that the legendary poet had (Dion. Hal. Pomp. I, 13; Max. Tyr. Or. 26; [Longinus]; Subl. XIII, 2-3; Procl., In R. VI, 163.13-164.7; 202.7-205.23). With an analogous spirit, studies of contemporary Platonists suggest that the dialogues were shaped using the Homeric text, especially the Odyssey, as a template, and making Socrates appear as going through equivalent experiences to those of Odysseus’ “νόστος”. With respect to Protagoras, previous attempts focused on explicit references to books X and XI, placing the dispute with the sophist and the events at Callias’ house in the symbolic context of Odysseus’ encounter with Circe and the following journey into the underworld. I attempt to bring that reading one step further, paying special attention to the narrated character and the dramatic context for the singing of those episodes and the parallel ones in Protagoras. In first place, I consider the whole dialogue refiguring the episode in the Odyssey that works as a dramatic frame for the singing of Odysseus’ past adventures, the arrival at Phaeacia and the reception at Alcinous’ court. I regard Odysseus’ need to sing the Apologue as a call for hospitality to secure a safe passage home, working as a pattern for Socrates’ need of a tale at his own appearance in Athens to fulfill and secure a philosophical education in the city. In second place, I take into consideration the metanarrative dimension of such remaking. Since Socrates’ narration comes in response to a certain “Ὁμήρου ἐπαινέτης”, a “praiser of Homer” (Pl. Prt. 309b1), as Odysseus’ Apologue is to Demodocus the “ἀοιδὸς”, I examine how the dialogue could evince a dispute for pedagogical primacy amongst the different narratives and uses of poetry in Athens, a dispute that the Platonic narrative would attempt to surpass precisely by imitating Homer. (shrink)

Guru Nanak reports that there are three cardinal principles for walking upon the path of truthful living. These are Kirat Karna, Vand Chakna and Nam Japna. Kirat Karna means to earn righteously through one's own efforts. Vand Chakna is to share one's abundance and talents with others. Nam Japna means the contemplation of Truth. In his hymns, Guru Nanak exhorts Sikhs to imbibe love of God and his creation in their life, earn their living by honest labour, and share it (...) with others as; “Sing, and listen, and let your mind be filled with love (for God and His Creation).”[SGGS, 2] “One who earns by honest labour, and shares some of what he has with others, - O Nanak, he knows the true way of life.” [SGGS: 1245] In this second part of the article further elaboration on the path of truthful living is described. (shrink)