This paper offers a new argument in favour of experiential pluralism about visual experience – the view that the nature of successful visual experience is different from the nature of unsuccessful visual experience. The argument appeals to the role of experience in explaining possession of ordinary abilities. In addition, the paper makes a methodological point about philosophical debates concerning the nature of perceptual experience: whether a given view about the nature of experience amounts to an interesting and substantive thesis about (...) our own minds depends on the significance of the psychological or mental kind claim made by it. This means that an adequate defence of a given view of the nature of experience must include articulation of the latter's significance qua psychological or mental kind. The argument advanced provides the material to meet this demand. In turn, this constitutes further support for the argument itself. (shrink)

Basic understandings of subjectivity are derived from the principles of masculine embodiment such as temporal stability and singularity. But pregnancy challenges such understandings because it represents a sort of splitting of the body. In the pregnant situation, a subject may experience herself as both herself and an other, as well as neither herself nor an other. This is logically untenable—an impossibility. If our discourse depends on singular, fixed referents, then what paradigms of identity are available to the pregnant subject? What (...) could be the pregnant subject's ontology? -/- Eric Bapteste and John Dupré offer the idea that organisms are processual beings. In their view, the ecological interrelationships between the objects of biology are defining, and render them dynamic processes, rather than stable things. Does Bapteste and Dupré’s processual ontological account accommodate pregnant organisms, including pregnant people? -/- Here, I analyze the processual account and determine whether it can accommodate the phenomenon of pregnancy. I find that a processual ontology captures a great deal about pregnant embodiment and is a significant improvement over Cartesian and anti-metaphysical accounts. However, in order to accommodate pregnancy, what we still need from an ontology is the inclusion of subjectivity. (shrink)

The aim of my paper is to review the discussion concerning various difficulties which surround the definition of depression and the methods of diagnosing and treating the disease against the background of the now dominant reductionist paradigm in psychiatry, as well as to answer the question whether a new approach to psychiatric disorders proposed by philosophers of psychiatry working within the phenomenologically inspired embodied and enactive paradigm indeed offers a solution to these difficulties. I present the issues specific to the (...) subject of depression in light of the more general problems related to biological psychiatry that have recently caused much debate. In the second part of the paper, I consider enactive, phenomenological and embodied theories of depression and the possibilities of new methods of treatment. My goal is to assess whether these theories indeed add anything important to the conceptions that are already present in psychiatry. I conclude that even if the embodied philosophy of psychiatry does not solve many of the problems faced by modern psychiatry, it can, nevertheless, provide a useful theoretical basis for future changes. (shrink)

Focused on the notion of the threshold of objectivity, my article dissects the empirical mirror-glass of the philosophy of Joseph Melançon. I propose to thrust this emblematic perspective of determinist discourse against the literary turn, acclaimed for its underpinning ambiguous subjectivity – here notably made relevant by Pierre Bourdieu. Both discursive practices complete each other and reject each other in a self-feeding spiral: incessant motivation for a hybrid, vexing study of mutual tensions.

This narrative study explores the late-career issues among 15 senior teacher educators from Israeli Academic Colleges of Education (ACEs), in light of the growing conversation about pre-pension maintenance of senior faculty members employed in teacher education institutions. The data analysis of semi-structured interviews highlighted dedication to daily tasks (research activity, administration, teacher education and leading Professional Learning Communities), and a sense of mission during career experiences (leaving legacy to student teachers and colleagues). It was reflected in two parallel work patterns: (...) the ‘work pattern of sharing’, and the ‘work pattern of expertise’. The discussion raises similarities between the literature and the first work pattern, in line with the unique culture of teacher education systems in the world. However, the existence of the ‘work pattern of expertise’ in the literature remains vague and requires more in-depth thinking and research. (shrink)

This chapter discusses the main types of so-called ’subjective measures of consciousness’ used in current-day science of consciousness. After explaining the key worry about such measures, namely the problem of an ever-present response bias, I discuss the question of whether subjective measures of consciousness are introspective. I show that there is no clear answer to this question, as proponents of subjective measures do not employ a worked-out notion of subjective access. In turn, this makes the problem of response bias less (...) tractable than it might otherwise be. (shrink)

Populism in Central-Eastern Europe and South-Eastern Europe has been framed through theoretical ideas and expectations based on West European experience. However, the region’s experience of populist politics has diverged from that of Western Europe in important ways. In older West European democracies, the most typical vehicle for populism are, for the moment, new or previously marginal illiberal challenger parties which confront an essentially liberal, non-populist mainstream. In Central-Eastern Europe and South-Eastern Europe, it is the “mainstream” which is or has become (...) populist. Therefore, it is important to elaborate which of these universal indicators of populism can be applied to the countries of Central and Eastern Europe and Western Balkans, and what kind of particularities will crystallize as a consequence of the socialist background. The main aim of the conference is to gather scholars that are researching different aspects and manifestations of populism in the region. This conference is organized in the framework of POPREBEL project, which has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 822682. (shrink)

This study seeks to explore Israeli senior teacher educators’ retrospective interpretations of their early career experiences, while addressing a special emphasis on cultural and contextual characteristics of the academic colleges of education (ACEs). In order to study in depth the attraction factors of career choices among teacher educators, who have outstanding academic skills and background in university teaching, 10 semi-structured interviews were conducted. The findings pointed to the 'balancing between different fields of work' as a major attraction in choosing both (...) the profession and the academic home among teacher educators. Moreover, three balancing points of utmost importance in career choices are identified as significant: a balance between theory and practice toward educational change; a balance between self-worth and production-based worth; and a balance between social relevance and professional networks. The study concludes with a handful of recommendations for ACE administrators on the strategies of recruiting and retaining new teacher educators with impressive academic achievement. (shrink)

This study provides a retrospective view by Israeli Teacher Training College (TTC) principals of their early careers, with emphasis on the induction into their first academic-administrative positions. The thematic analysis of 10 life stories reveal three landmarks which contributed to building or impeding resilience in academic administration at the induction, adaptation and consolidation stages. Whereas the first and third stages were identified with the ‘Pygmalion Effect’ and the ability to establish an effective model of leadership, the adaptation stage was seen (...) as impeding the development of resilience. The findings are discussed in relation to the literature on resilience in different educational contexts, and examine its applicability to the organisational culture of Israeli TTCs. (shrink)

The article presents the results of a narrative study, in the framework of which the concepts of decency and honesty in the academic environment are considered. Fifteen teachers from six teacher training colleges in Israel were selected for the study. The main goal of the study: to determine how decency and honesty are interpreted by teachers, who combine administrative work with teaching, and how these concepts are defined by teachers who are exclusively engaged in teaching students. The results of the (...) study showed how important it is to be an honest teacher. Especially when it comes to educating the future generation of teachers. (shrink)

The concept of Teaching-Research Nexus (TRN) is one of the main characteristics of the academic orientation. The current study attempts to examine how this perception is implemented in Israeli Academic Colleges of Education (ACEs) and how it is expressed in the work of senior teacher educators who have previously served as teachers in schools. An analysis of nine semistructured interviews pointed to teacher students’ and teacher educators’ agency as being prominent patterns in the TRN implementation, and which are expressed in (...) three ways: (a) agency of research insights to the educational field; (b) agency of reflective practitioning (an ability of the individual to create a relationship between his or her social and emotional world in the professional context); and (c) agency of cross-cultural research. The discussion delineates the similarities and differences between the perception of TRN among teacher educators in ACEs and academics in other institutions of higher education. (shrink)

The purpose of this narrative study is to trace the process whereby Israeli Academic College of Education principals lead Professional Learning Communities (PLC) for teacher educators. The focus is on the unique situation in which various different roles (administrator/facilitator/learner) are integrated during this process. Seven semi-structured interviews underwent a thematic analysis that indicated two parallel journeys of PLC leadership: a journey of co-leading a PLC and cultivating creativity, and a journey of crystallizing intellectual identity and image through leading PLCs. The (...) discussion provides an interpretation of these two journeys in accordance with both social-cognitive and social-classification theories. It examines the findings in terms of three types of tensions and fears typical of PLC leaders, as reflected in the literature. (shrink)

The current study presents the professional experiences of senior teacher educators (‘Associate Professors’), with an emphasis placed on ethical dilemmas they face during their administrative work. The main purpose is to characterize the critical incidents underlying these dilemmas, their interpretation, and the ways of balancing the different considerations in their resolution. A qualitative analysis of twelve narrative interviews pointed to four core values which underpinned the approaches taken by teacher educators in their handling of critical situations: perception of integrity, empathy (...) and care, commitment to the institution, and the need to promote initiatives. Findings indicate that the concept of integrity is central to the decision making processes, but that this concept is interpreted differently according to the personality characteristics, experience, and educational vision of the interviewees. It is proposed to conduct further studies that examine the interpretation of ‘integrity’ as a concept among senior teacher educators. (shrink)

The aim of the study was to explore the motives underpinning career mobility, and the impact of such mobility on changing the perceptions of senior teacher educators from Israel who have experienced cross-cultural professional transitions during the mid-career stage (hereafter referred to as ‘internationally oriented teacher educators’). A thematic analysis of five interviewees’ retrospective narratives highlighted three motives driving career mobility: the opportunity for professional development; the joy of adventure and challenge; and the need to bring about a fundamental change (...) in their careers. In addition, two categories of changes in perceptions that occurred following international mobility were mapped: (a) pluralistic perceptions in a multicultural higher education environment, and (b) culture of learning among the younger generation. The discussion raises similarities and differences between the findings and the literature on career mobility in higher education. (shrink)

In the developed countries, the importance and development of sharing economy as a new economic model have been increasingly discussed in recent decades. In Serbia, sharing economy has not yet been sufficiently explored in official reports and academic literature. On the other hand, in practice, there are several collaborative platforms used by consumers. Therefore, the purpose of this study is to point out the specifics of the sharing economy in Serbia. At the outset, after a brief introduction, the concept of (...) a sharing economy is defined. Consumers’ attitudes about knowledge of the sharing economy, the expectations, and motives that drive them to market engagement are examined and presented. Examples of good practices in the field of sharing economy in Serbia are given. The factors that stimulate or restrict the development of the sharing economy are highlighted, and the legislative framework that directly and indirectly regulates this area is presented. The conclusion about the level of the development of sharing economy in Serbia is derived, and recommendation for future research is given. (shrink)

The object of the present study is to propose a technologically-based method for developing Regulation of Cognition (RC) among pre-service teachers in a pedagogical problem context. The research intervention was carried out by two groups during a Teaching Training Workshop, based on the IMPROVE instructional method, which was implemented in the Learning Management System (LMS). The first group (N=53) investigated the pedagogical problems with "dual perspectives (teacher and learner), and the other group (N=47) analyzed the same problems from a teacher (...) perspective only. The triangulated research design provided three sets of data of RC (e.g. statements on Metacognitive Awareness Inventory, Educational Data Mining, and observations on actual teaching). The results were indicative of the advantage that was obtained by the dual perspective group (LMS+2P), which has manifested in most components of RC, as compared with the single based intervention (LMS+1P). (shrink)

Ugledni mislitelji hermeneutičke filozofije Wilhelm Dilthey i Hans-Georg Gadamer okarakterizirali su Matiju Vlačića Ilirika kao klasika hermeneutičkog pristupa filozofiji. Taj sud dodatno dobiva na snazi jer su Dilthey i Gadamer okarakterizirani kao pristaše relativističke hermeneutike, dok je Vlačić inzistirao na adekvatnom razumijevanju i interpretiranju teksta. Uzevši u obzir da je za Vlačića ključno pravilo bilo da tekst treba tumačiti sukladno njegovu imanentnom smislu, razradio je dvije interpretacijske maksime, skop i hermeneutički krug, presudne za daljnji razvoj i konstituiranje hermeneutike kao metode (...) razumijevanja, dok ga se po našemu sudu istodobno može smatrati i anticipatorom načela blagonaklonosti. Za objašnjenje složenog hermeneutičkog odnosa cjeline i dijelova teksta, Vlačić je kombinirao induktivno-sintetičku i deduktivnu metodu. Taj odnos predstavlja zahtjevan proces provedbe hermeneutičkog kruga u kojem je na djelu primjena modela koherentnosti istine u heurističkom postupku razumijevanja. Drugim riječima, radi se o postupnoj rekonstrukciji smisla teksta. Tijekom tog eksplanativnoga procesa postaje razvidno da je značenje pojedinih dijelova i manjih tematskih cjelina razumljivo tek iz strukture i kompozicije cjeline teksta i da postupna induktivno-sintetička rekonstrukcija smisla teksta pretpostavlja primjenu deduktivne analize. Nadalje, u heurističkom procesu iščitavanja teksta nužno je provjeriti kako se konzistentnost pojedinih odlomaka i cjelina teksta koherentno uklapa u širu cjelinu, a interpretacijske maksime, skop i hermeneutički krug, pritom se ispostavljaju kao pouzdan organon u heurističkom procesu razumijevanja i objašnjenja teksta. U tom kontekstu je Vlačićev hermeneutički zahtjev za adekvatnom rekonstrukcijom smisla usporediv s načelom blagonaklonosti kako ga razumijeva Donald Davidson, postavljajući ga kao jedan od osnovnih pojmova svoje filozofije. Naime, Vlačić polazi od pretpostavke razložnosti govora i argumentacije, što podrazumijeva mogućnost hermeneutičke rekonstrukcije teksta i njegovog adekvatnog razumijevanja. Davidson je također, pomoću teorije triangulacije, pokušao pokazati kako objektivni svijet u jeziku komunikacije postaje intersubjektivni svijet razumijevanja i uvažavanja, čime zapravo želi pokazati da je naše razumijevanje izvanjskog svijeta uvjetovano zajedničkim sustavom znanja i modelom komuniciranja koji nikada ne može imati individualistička obilježja jer, jednostavno, participiramo u zajedničkom svijetu. Davidsonov koncept triangulacije na novi način je obilježio model hermeneutičke čestitosti koji je već zagovarao predstavnik prosvjetiteljske hermeneutike Georg Friedrich Meier. S obzirom na to da se problem antirealističkog pristupa ne može riješiti pozivanjem na kruti hermeneutički realizam ili objektivizam, ono što tekstom želimo pokazati jest da bi hermeneutiku, za razliku od npr. Rortyja, trebalo shvatiti kao interpretacijski konsenzus struke koji je uspostavljen u okvirima akademske zajednice. To je u skladu sa stavovima Paula Lorenzena, koje je u, pogledu akademskog konsenzusa s obzirom na interpretativnost, slijedio i Jürgen Habermas u izradi svoje teorije komunikativnog djelovanja. (shrink)

Aided by Michel Foucault’s concept of panopticon and a discussion on the function of fairy tales and modern fiction, this paper aims to deal with the question: If human beings truly are civilized, then why do we glorify the Other in our literature? History has shown that human beings have been forming and developing societies for thousands of years. This development also constantly shows that societies have been dealing with or acting upon violent impulses in order to produce a certain (...) level of normalcy; and considering how modern societies have relied upon surveillance and discipline to produce normalization, we could say that this process of production of the normal would also produce the unacceptable non-normal, the Other. However, from the fairy tales to the more modern forms of fiction, we keep on finding this paradox: the portrayal of the non-normal Other to the point of acceptability. (shrink)

In this paper, we bring together research on complex problem solving with that on motivational psychology about goal setting. Complex problems require motivational effort because of their inherent difficulties. Goal Setting Theory has shown with simple tasks that high, specific performance goals lead to better performance outcome than do-your-best goals. However, in complex tasks, learning goals have proven more effective than performance goals. Based on the Zurich Resource Model, so-called motto-goals should activate a person’s resources through positive affect. It was (...) found that motto-goals are effective with unpleasant duties. Therefore, we tested the hypothesis that motto-goals outperform learning and performance goals in the case of complex problems. A total of N = 123 subject participated in the experiment. In dependence of their goal condition, subjects developed a personal motto, learning, or performance goal. This goal was adapted for the computer-simulated complex scenario Tailorshop, where subjects worked as managers in a small fictional company. Other than expected, there was no main effect of goal condition for the management performance. An unexpected gender effect revealed better performance for men than women, pointing to a potential stereotype threat. As hypothesized, motto goals led to higher positive and lower negative affect than the other two goal types. Even though positive affect decreased and negative affect increased in all three groups during Tailorshop completion, participants with motto goals reported the lowest rates of negative affect. Exploratory analyses investigated the role of affect in complex problem solving via mediational analyses and the influence of goal type on perceived goal attainment. (shrink)

This paper presents a preliminary analysis of the first participatory budgeting experiment in the United States, in Chicago's 49th Ward. There are two avenues of inquiry: First, does participatory budgeting result in different budgetary priorities than standard practices? Second, do projects meet normative social justice outcomes? It is clear that allowing citizens to determine municipal budget projects results in very different outcomes than standard procedures. Importantly, citizens in the 49th Ward consistently choose projects that the research literature classifies as low (...) priority. The results are mixed, however, when it comes to social justice outcomes. While there is no clear pattern in which projects are located only in affluent sections of the ward, there is evidence of geographic clustering. Select areas are awarded projects like community gardens, dog parks, and playgrounds, while others are limited to street resurfacing, sidewalk repairs, bike racks, and bike lanes. Based on our findings, we offer suggestions for future programmatic changes. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court (...) as a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of salient aspects of (...) our experience of musical performances, from the importance of instrumentality, to the multimodal character of this experience. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...) musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

This essay explores the benefits of utilizing non-scientific examples and analogies in teaching philosophy of science courses. These examples can help resolve two basic difficulties faced by most instructors, especially when teaching lower-level courses: first, they can prompt students to take an active interest in the class material, since the examples will involve aspects of the culture well-known, or at least more interesting, to the students; and second, these familiar, less-threatening examples will lessen the students' collective anxieties and open them (...) up to learning the material more easily. To demonstrate this strategy of constructing and employing non-scientific examples, a lengthy analogy between musical styles and Kuhn's theory of scientific revolutions is developed. (shrink)

Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still (...) available to us as contemporary music creators and consumers. (shrink)

The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.

In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also (...) suggested that “Music therapy can have effects that improve the psychological and physiological health of individuals,” so it seems plausible that engaging in practices of music can positively contribute to one living a more optimally flourishing life with greater psychological well-being. However, recent studies on music practice and participation have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to extant work by reviewing recent research on psychological well-being and music to offer support for the claim that music practice and participation can positively contribute to one living a flourishing life by positively influencing their emotions, engagement, relationships, meaning, and accomplishment. (shrink)

For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes (...) constitutive of emotional consciousness. In developing this idea, I consider the ‘material’ and ‘worldmaking’ character music, and I apply these considerations to two case studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the (...) best version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D. M. Armstrong’s theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, (...) I argue for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...) go about the practical task of actually increasing our level of well-being, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of well-being. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I am of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of well-being. (shrink)

In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...) to go about the practical task of actually increasing our level of wellbeing, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of wellbeing. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I’m of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of wellbeing. (shrink)

I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we (...) listen to music with our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience. (shrink)

I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...) character. I argue that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

I start with the observation that we often respond to a musical performance with emotion -- even if it is just the performance of a piece of absolute music, unaccompanied by text, title or programme. We can be exhilarated after a Rossini overture brought off with subtlety and panache; somber and melancholy after Furtlanger’s performance of the slow movement of the Eroica. And so forth. These emotions feel like the real thing to me – or anyway very close to (...) the real thing. When one experiences them, it takes time for them to wear off, and one gets irritated with the companion who, because not similarly moved, wants immediately to start discussing where to go for dinner. Like many others, I am drawn to the philosophy of music by a need to understand how such emotional responses are possible. How can absolute music move us in the way that it does, and to the extent that it does? (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...) of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (shrink)

Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.

This book is the first to put forward a general theory of the manner in which different media--music, words, moving picture, and dance--work together to create multimedia. Beginning with a study of the way in which meaning is mediated in television commercials, the book concludes with in-depth readings of Disney's Fantasia, Madonna's video Material Girl, and Armide (Godard's sequence from the collaborative film Aria). Analysing Musical Multimedia not only shows how approaches deriving from music theory can contribute to (...) the understanding of multimedia, but also seeks to draw conclusions from the practice and further development of musical analysis. (shrink)

This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases (...) allow us to synthesize or reject traditional philosophical differences. (shrink)

I develop Schopenhauerian musical formalism. First, I present a Schopenhauerian account of music with a background of his metaphysical framework. Then, I define meaningfulness as an analog to a Kantian notion of purposiveness and argue that, in light of Schopenhauer, music is meaningful as a direct manifestation of the universal will. Given the ineffable nature of what music points to, its form lacks any representation of meaning. Music is therefore the mere form of meaningfulness, and it (...) is precisely this mere form that gives rise to the infinite possibilities to ascribe it with a variety of musical meaning. (shrink)

There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within (...) the manifold in the normal way, adds to the intrinsic value of the world, but that if the same performance is turned sideways within the manifold, so that it involves a number of different notes spread out in space and all occurring at the same time, then it does not add the same intrinsic value to the world. (shrink)

Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between (...) the auditory system and the musical invariants can be characterized as an extended computational cognitive system. In articulating this view, the work of J. J. Gibson (1966, 1986) and Robert Wilson (1994, 1995, 2004) is drawn on. The view is defended from several objections and its implications outlined. The paper concludes with a comparison to Krueger’s (2014) view of the “musically extended emotional mind”. (shrink)

This chapter offers the beginning of an enactive account of auditory experience—particularly the experience of listening sensitively to music. It investigates how sensorimotor regularities grant perceptual access to music qua music. Two specific claims are defended: (1) music manifests experientially as having complex spatial content; (2) sensorimotor regularities constrain this content. Musical content is thus brought to phenomenal presence by bodily exploring structural features of music. We enact musical content.

Music can contaminate us. Sometimes, listeners perceive music as expressing some emotion (say, sadness), and this elicits the same emotion in them (they feel sad). What is musical contagion? This entry presents the main theories of musical contagion that crystallize around the challenge to the leading theory of emotions as experiences of values. How and why does music contaminate us? Does musical contagion elicit garden variety emotions, such as sadness, joy, and anxiety? Does music contaminate us (...) by simply moving us? Which role does imagination play in our affective responses to music? Is musical arousal elicited by automatic mimicry? What does musical contagion teach us about emotions? Musical contagion addresses fundamental theoretical and practical issues. (shrink)

We present an account of the phenomenon of music based upon the hypothesis that there is a close parallel between the mechanics of life and the mechanics of mind, a key factor in the correspondence proposed being the existence of close parallels between the concepts of gene and musical idea. The hypothesis accounts for the specificity, complexity, functionality and apparent arbitrariness of musical structures. An implication of the model is that music should be seen as a phenomenon of (...) transcendental character, involving aspects of mind as yet unstudied by conventional science. (shrink)

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)

Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts (...) of musicing, thought of as processes of environmental space manipulation, are thus examples of what I term Òemotional niche construction.Ó I explore three dimensions of this process and appeal to different strands of empirical work to support this picture. (shrink)