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)

I explain a tension between musical creationism 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)

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 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)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

Music impinges upon the body and the brain and has inductive power, relying on both innate dispositions and acquired mechanisms for coping with the sounds. This process is partly autonomous and partly deliberate, but multiple interrelations between several levels of processing can be shown. There is, further, a tradition in neuroscience that divides the organization of the brain into lower and higher functions. The latter have received a lot of attention in music and brain studies during the last (...) decades. Recent developments in neuroimaging techniques, however, have broadened the field by encompassing the study of both cortical and subcortical processing of the sounds. Much is still to be investigated but some major observations seem already to emerge. The domain of music and emotions is a typical example with a major focus on the pleasure that can be derived from listening to music. Pleasure, however, is not the only emotion that music can induce and the mechanisms behind its elicitation are far from understood. There are also mechanisms related to arousal and activation that are both less differentiated and at the same time more complex than the assumed mechanisms triggering basic emotions. It is tempting, therefore, to bring together contributions from neuroscience studies with a view to cover the possible range of answers to the question of what pleasurable or mood-modifying effects music can have on human beings in real-time listening situations. (shrink)

“4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music can (...) (at least potentially) scaffold various forms of thought, experience, and behavior. To develop this idea, I consider the “material” and “worldmaking” character of music, and I apply these considerations to two cases studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There (...) are, however, two levels of description: the physical-acoustic description of the sound and the subjective-psychological reactions by the listeners. Starting from a vibrational approach to sound and music, we first investigate how sound may activate the sense of touch and the vestibular system of the inner ear besides the sense of hearing. We then touch upon distinct issues such as the relation between low-frequency sounds and annoyance, the harmful effect of loud sound and noise, the direct effects of overstimulation with sound, the indirect effects of unwanted sounds as related to auditory neurology, and the widespread phenomenon of liking loud sound and music, both from the point of view of behavioral and psychological aspects. (shrink)

The article introduces a cognitive and componential view of religious emotions. General emotions are claimed to consist of at least two compounds, the cognitive compound and the affective compound. Religious emotions are typically general emotions which are characterized by three specific conditions: they involve a thought of God or godlike, they are significant for a person feeling them and their meaning is derived from religious practices. The article discusses the notion of spiritual emotions in Ancient theology and compares the idea (...) of it with emotions in music. By referring to the notion of mental language, it is argued that some religious emotions are like emotions in music and as such they can be interpreted as tones of Logos. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, (...) an important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (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)

In this article I try to elucidate the concept of human dignity by taking a closer look at the features of a paradigmatic torture situation. After identifying the salient aspects of torture, I discuss various accounts for the moral wrongness of such acts and argue that what makes torture a violation of human dignity is the perverted moral relationship between torturer and victim. This idea is subsequently being substantiated and defended against important objections. In the final part (...) of the chapter I give a (qualified) defense of the methodology employed in the previous sections. (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 conference paper contests the validity of some traditional concepts of gardens. It introduces the possibility of considering the passage of time in gardens as a musical, rhythmic phenomonen.

Torture porn has been vilified on grounds that are at best unconvincing and at worst incoherent. The subgenre’s remonstrators too often ignore the content of the films themselves, and fail to make sufficiently detailed connections between the subgenre and the cultural sphere. Reactions to torture porn rarely consider what values the films apparently contravene, and why, if the films are offensive, they are simultaneously so popular. The central derisive mechanism in operation is the ill-conceived combination of ‘torture’ (...) and ‘porn’ itself. The use of ‘porn’ as a label works to illegitimate torture porn and demand that body-horror retreat to its more ‘fitting’ position on the outskirts of the cultural radar. However, this approach is too busy pointing at violence, and fails to deal with the fact that sex is displaced. If violence is now pornographic, it is unclear what position sexual portrayals occupy, or whether they are still perceived as more offensive than violent representations. Furthermore, it is uncertain how we are to describe sexual images if that is the case, since the lexicon of offense has been waylaid. Torture porn’s critics commonly fail to account for the new context of ‘porn plus horror’, and what that combination says about visual representation and its limits. This chapter is a step towards rectifying that oversight. (shrink)

Although the term "torture lite" is frequently used to distinguish between physically mutilating torture and certain interrogation methods that are supposedly less severe, the distinction is not recognized in international law.

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)

In proportion to the increased emphasis placed on abortion in partisan political debate since the early 2000s, there has been a noticeable upsurge in cultural representations of abortion. This article charts ways in which that increase manifests in contemporary survival-horror. This article contends that numerous contemporary survival-horror films foreground pregnancy. These representations of pregnancy reify the pressures that moralistic, partisan political campaigning places on individuals who consider terminating a pregnancy. These films contribute to public discourse by engaging with abortion as (...) an individual, emotional matter, rather than treating abortion as a matter of political principle or a political “means to an end.” This article not only charts a relationship between popular culture and its surrounding political context, but also posits that survival-horror—a genre that has been disparaged by critics and largely ignored by scholars—makes an important contribution to sexual-political discourse. These films use horror to articulate the things we cannot say about abortion. (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)

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)

While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations (...) and unasked questions. This essay addresses the paucity of work in feminist philosophy and popular music by applying insights from other areas of feminist aesthetics to questions of popular music, and thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)

Kant’s most canonical argument against suicide, the universal law argument, is widely dismissed. This paper attempts to save it, showing that a suicide maxim, universalized, undermines all bases for practical law, resisting both the non-negotiable value of free rational willing and the ordinary array of sensuous commitments that inform prudential incentives. Suicide therefore undermines moral law governed community as a whole, threatening ‘savage disorder’. In pursuing this argument, I propose a non-teleological and non-theoretical nature – a ‘practical nature’ or moral (...) law governed whole – the realization of which morality demands. (shrink)

"Does torture work?" is a factual rather than ethical or legal question. But legal and ethical discussions of torture should be informed by knowledge of the answer to the factual question of the reliability of torture as an interrogation technique. The question as to whether torture works should be asked before that of its legal admissibility—if it is not useful to interrogators, there is no point considering its legality in court.

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)

One of the questions raised by this important and thought-provoking collection of essays on torture is how and why the consensus that torture is wrong - a consensus enshrined in international law for decade - has become so fragile. As Scott Anderson writes in the introduction to this volume, "how did abusing and torturing prisoners suddenly become so popular?” The chapters in this volume offer insights into this question from the perspectives of history, psychology, law, philosophy, and sociology. (...) This interdisciplinary approach highlights important and often overlooked aspects of the torture debate. Yet, the questions that the authors take to be important (for example, about whether the justification of torture should even be contemplated) reflect different and sometimes incompatible normative assumptions about what torture is and about what matters in the torture debate. These assumptions, I shall argue, are shaped by, and play a role in shaping, the moral, political, and social narratives that contribute to or resist the toleration of torture in the US and elsewhere. Thus, while the disparate nature of the contributions (perhaps inevitably) undermine the cohesiveness of the volume as a whole, it illuminates, even if it does not resolve, larger questions about the place and function of academic debate in the history and use of torture. (shrink)

We describe music in terms of emotion. How should we understand this? Some say that emotion descriptions should be understood literally. Let us call those views “literalist.” By contrast “nonliteralists” deny this and say that such descriptions are typically metaphorical.1 This issue about the linguistic description of music is connected with a central issue about the na- ture of music. That issue is whether there is any essential connection between music and emotion. According to what we (...) can call “emotion theories,” it is essential to music to be somehow related to real emotion. Prominent examples of such theories are these: it is the main function of all or most music to express emotions, to arouse emotions, or to represent emotions. 2 In my view, such theories have little plausibility, and they face a battery of powerful objections. In particular, these theories are objectionable on the grounds that essential features of emotion preclude such essential relations between music and emotion. 3 Yet to argue against various specific emotion theories of music, of which there is a large variety, does not address the reasons that draw people to emotion theories. I think that there are two main reasons. The first is that the most obvious explanation of why we describe music in emotion terms is that emotions, or relations to emotions, are part of what music is. The second reason is introspective, or phenomenological—that much music moves us when we listen to it, so it seems that music generates emotions in us, which we project onto the music when we describe it in emotion terms. In this article, my negative purpose is to dissolve these two reasons. My positive purpose is to argue for a particular nonliteralist view of linguistic descriptions of music in terms of emotion, a.. (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)

Death can be bad for an individual who has died, according to the “deprivation approach,” by depriving that individual of goods. One worry for this account of death’s badness is the Lucretian symmetry argument: since we do not regret having been born later than we could have been born, and since posthumous nonexistence is the mirror image of prenatal nonexistence, we should not regret dying earlier than we could have died. Anthony Brueckner and John Martin Fischer have developed a response (...) to the Lucretian challenge by arguing that it is rational to have asymmetric attitudes toward posthumous and prenatal nonexistence. Recently, Jens Johansson has criticized the Brueckner/Fischer position, claiming that it is irrelevant whether it is actually rational to care about future pleasures but not past pleasures. What matters, according to Johansson, is whether it would be rational for us to care about past pleasures had we come into existence earlier. In this paper, I add to the conversation between Johansson and Brueckner/Fischer by suggesting a way to defend the latter side’s position in a way that has not yet been suggested. I do this by considering a suggestion of Johansson’s for interpreting the Brueckner/Fischer position and by arguing that Johansson’s worry for the position I consider is actually incoherent. (shrink)

‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films (including Captivity, Hunger, and Torture Room). Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities (see Haggerty, 2011), the panopticon remains (...) a dominant paradigm within surveillance studies because it captures essential truths about the psychologies of self-governance and interdependency. This chapter will use torture porn’s panoptical spaces and captor-captive relationships as a springboard into examining those broader philosophical issues regarding selfhood. In the torture-space, cameras signify the control to which captives must submit. Since they are threatened with death, the surveillance dynamic appears to entirely subjugate these prisoners. However, the captive must undertake some agency in the oppression. Much of the captor’s implied threat is enacted by the captives, who brutalise one another to save themselves. The captor’s apparent omniscience is translated into omnipotence only because the captives forsake self-control – opting to engage in violent, contra-social behaviours – out of fear. Thus, it is implied that self-ownership is the bedrock of stable, interdependent sociality. To inspire horror, the opposite is depicted: fractured groups comprised of paranoid, self-invested individuals. By submitting to external pressure, these “weak” individuals empower their tormentor. Captives are not only encouraged to enact their own suppression, but also to internalise culpability for the suffering they undergo. Despite being threatened with erasure, torture porn’s protagonists are spotlighted in these films. Abductees dominate the screen-time, and their suffering drives the narrative forward. Torturers are often motivated solely by their victims’ agony. In many cases, torture is designed specifically for each hyper-individualised captive. These forms of emphasis imply that captives are the stimulus for their own victimisation. The captor’s exaggerated interest in the prisoners is perversely flattering: captives are implied to be worthy of the captor’s maniacal attention, which is reified by the CCTV cameras. In torture porn’s scenarios, it is not immediately clear who has greater control over the individual: the captor or the captive themselves. By dissecting how self-preservation, self-governance, and self-centredness manifest in torture porn, this chapter seeks to examine the dialectical qualities of liberty, interdependency and autonomy. (shrink)

This book is an analysis and evaluation of torture. My take on torture is unique for four reasons. First, it provides a distinct analysis of what torture is. Second, it argues that on non-consequentialist grounds, specifically rights-based ones, torture is sometimes permissible. Third, it argues that torturers are not always vicious. Fourth, it argues that it is plausible that these conclusions apply to some real world cases. In short, it fills the following gap: it evaluates (...) class='Hi'>torture from a rights-based perspective and finds that in some cases it is permissible. My book is a unique philosophical exploration of torture. It combines a philosophical analysis of torture with a moral evaluation of it. The philosophical analysis of torture has not received a lot of attention. My analysis defends a minimal view of torture and one that distinguishes the analysis of the concept of torture from the moral evaluation of it. The resulting theory, the minimalist theory, differs noticeably from other analyses. My moral evaluation of torture sharply differs from the rest of the literature. The evaluation focuses on the non-consequentialist approach to morality, that is, it assumes that what makes an action right is not solely whether it brings about the best results. Using the central feature of non-consequentialism, moral rights, I argue that torture is justified in a number of theoretical contexts, including defense, punishment, and when the person to be tortured consents. I then look at the actual world and argue that it is plausible to think that there are real-world cases where torture is justified. My analysis also looks at whether torture is virtuous in an attempt to get at what intuitively repels us about torture. My analysis is not only the first look at the issue, but it also ties in with recent developments in virtue theory. As in the analysis of the permissibility of torture, I try to show that my findings with regard to virtue are not merely of theoretical interest, but are plausible given some real-world cases. (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.

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)

Shortly before his death in 2004, Jacques Derrida provocatively suggested that the greatest problem confronting contemporary democracy is that ‘the alternative to democracy can always be represented as a democratic alternative ’. This article analyses the manner in which certain manifestly anti-democratic practices, like terror and torture, come to be taken up in defense of democracies as a result of what Derrida calls democracy’s ‘autoimmune’ tendencies.

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

Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in (...) the cognitive sciences that has received little attention from philosophers, though it has relatively recently been thrown into the externalist spotlight (Cochrane 2008, Kruger 2014, Kersten forthcoming). Given that individualism can be thought of as a kind of paradigm for research on cognition, we provide a brief overview of the field of music cognition and individualistic tendencies within the field (sections 2 and 3) before turning to consider externalist alternatives to individualistic paradigms (section 4-5) and then arguing for a qualified form of externalism about music cognition (section 6). (shrink)

Music is often described in anthropomorphic terms. This paper suggests that if we think about music in certain ways we could think of it as conscious. Motional characteristics give music the impression of being alive, but musical motion is conventionally taken as metaphorical. The first part of this paper argues that metaphor may not be the exclusive means of understanding musical motion – there could also be literal ways. Discussing kinds of consciousness, particularly “access consciousness” (Block 1995), (...) the second part proposes ways in which music could (hypothetically) be conscious. The conclusion states that a greater understanding of the interactions of “phenomenal consciousness” and “access consciousness” is important in conceptualizing non-human consciousnesses, such as music might be conceived to be. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely (...) the sonic world in its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

What does it mean to say that music perception is nonconceptual? As the passages from Meyer and Budd illustrate, one frequently encounters claims of this kind: it is often suggested that there is a level of perceptual contact with, or understanding or enjoyment of, music—one in which listeners typically engage—that does not require conceptualization. But just what does a claim of this sort amount to, and what arguments may be adduced for it? And is all musical hearing nonconceptual, (...) or are there ways of enjoying fugues and sonatas that do involve conceptualizing cadences and contrapuntal devices? If the latter, how are we to conceive of the relationship between conceptual and nonconceptual ways of hearing? (shrink)

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

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely (...) the sonic world in its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

The UN Convention against Torture defines torture as “any act by which severe pain or suffering, whether physical or mental, is intentionally inflicted on a person” by someone acting in an official capacity for purposes such as obtaining a confession or punishing or intimidating that person.1 It is unethical for healthcare professionals to participate in torture, including any use of medical knowledge or skill to facilitate torture or allow it to continue, or to be present during (...) torture.2-7 Yet medical participation in torture has taken place throughout the world and was a prominent feature of the US interrogation practice in military and Central Intelligence Agency (CIA) detention facilities in the years after the attacks of 11 September 2001.8-11 Little attention has been paid, however, to how a regime of torture affects the ability of health professionals to meet their obligations regarding routine clinical care for detainees. -/- The 2016 release of previously classified portions of guideline from the CIA regarding medical practice in its secret detention facilities sheds light on that question. These show that the CIA instructed healthcare professions to subordinate their fundamental ethical obligations regarding professional standards of care to further the objectives of the torturers. (shrink)

The economist David K. Levine claims that if a government of a country makes torture legal, the inevitable result will be torture that is out of control. I point out an inconsistency in his approach to torture. I then argue that we should be open to rare counterexamples to his claim and describe a kind of counterexample.

After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.

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

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

This essay examines the music of Radiohead as a means of introducing various elementary concepts and theories in the philosophy of music.

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical (...) acculturation, the perils of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)